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Music. Pure + Simple.

April 11, 12, 13, 14 CARL ORFF’S CARMINA BURANA

12 13 SEASON


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What some kids would rather be doing. That’s why we’re so proud to support The Cleveland Orchestra’s music education programs for children, making possible the rewards and benefits of music in their lives. WILLOUGHBY HILLS: LEXUS, BMW, MINI MENTOR: CADILLAC, SAAB, CHEVROLET, FIAT, FORD, LINCOLN, HYUNDAI, MAZDA TOYOTA SCION VOLKSWAGEN PAINESVILLE: BUICK, GMC STREETSBORO: HONDA, NISSAN, KIA DRIVECLASSIC.COM AUTO GROUP







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In the News From the Executive Director . . . . . . . . . . . . . . . . . . 7 Orchestra News . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25


About the Orchestra Spotlight: Photo of the Week . . . . . . . . . . . . . . . . . 8 Musical Arts Association . . . . . . . . . . . . . . . . . . . . . 11 Music Director . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 The Cleveland Orchestra . . . . . . . . . . . . . . . . . . . . 22 Severance Hall. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88 Guest Information . . . . . . . . . . . . . . . . . . . . . . . . . . . 92



Concerto in A major, BWV1055 . . . . . . . . . . . . 41 ORFF

Carmina Burana . . . . . . . . . . . . . . . . . . . . . . . . . . 45 Sung Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53 Conductor: James Feddeck . . . . . . . . . . . . . . . . . . 68 Soloist: Robert Walters . . . . . . . . . . . . . . . . . . . . . . 69 Vocal Soloists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70 Cleveland Orchestra Chorus . . . . . . . . . . . . . . . . 72-A Cleveland Orchestra Children’s Chorus . . . . . . . 72-C

Support Sound for the Centennial . . . . . . . . . . . . . . . . . . . . Corporate Annual Support . . . . . . . . . . . . . . . . . . . Foundation / Government Annual Support . . . Individual Annual Support . . . . . . . . . . . . . . . . . .


Copyright © 2013 by The Cleveland Orchestra and the Musical Arts Association Eric Sellen, Program Book Editor E-MAIL: Program books for Cleveland Orchestra concerts are produced by The Cleveland Orchestra and are distributed free to attending audience members. Program book advertising is sold through Live Publishing Company at 216-721-1800

Concert — Week 18 Concert Previews . . . . . . . . . . . . . . . . . . . . . . . . . . . 35 Program: April 11, 12, 13, 14 . . . . . . . . . . . . . . 37 Introducing the Program . . . . . . . . . . . . . . . . . . . . 39



50 73 75 76

The Musical Arts Association is grateful to the following organizations for their ongoing generous support of The Cleveland Orchestra: National Endowment for the Arts, the State of Ohio and Ohio Arts Council, and to the residents of Cuyahoga County through Cuyahoga Arts and Culture. The Cleveland Orchestra is proud of its long-term partnership with Kent State University, made possible in part through generous funding from the State of Ohio. The Cleveland Orchestra is proud to have its home, Severance Hall, located on the campus of Case Western Reserve University, with whom it has a long history of collaboration and partnership.


All unused books are recycled as part of the Orchestra’s regular business recycling program.

Future Concerts Concert Calendar . . . . . . . . . . . . . . . . . . . . . . . . . . . 90 Upcoming Concerts . . . . . . . . . . . . . . . . . . . . . . . . 94


This program book is printed on paper that includes 50% recycled post-consumer content.

These books are printed with EcoSmart certified inks, containing twice the vegetable-based material and one-tenth the petroleum oil content of standard inks, and producing 10% of the volatile organic compounds.

Table of Contents

The Cleveland Orchestra

Photo by Roger Mastroianni


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Perspectivesfrom the Executive Director April 2013 At the end of March, The Cleveland Orchestra received a $10 million, five-year grant from The Cleveland Foundation — the largest such commitment to an arts organization in the Foundation’s history and one of the largest gifts ever received by the Orchestra. We are deeply grateful for this exceptional grant and for the confidence in the Orchestra’s strategic direction that it represents. Over the past year, the Foundation’s staff and board have rigorously assessed the Orchestra’s ongoing transformation, and we sincerely appreciate their generous support of this important work. The Cleveland Foundation grant is a testament to much more than the Orchestra’s historical ranking among the world’s best — it is an extraordinary commitment to our programming innovations and our active community engagement. Sweeping changes at The Cleveland Orchestra have taken root in recent years and are starting to bear fruit. These include our efforts to foster future audiences, to shape and focus our education programs, and our work to build strong and meaningful working partnerships across the Northeast Ohio community. We are on target for a record-breaking season in ticket sales here at Severance Hall, including a significant increase in the number of young people eagerly enjoying and energizing our regular classical concerts. These numbers are the direct result of strong marketing programs (such as Student Advantage and Under18s Free) for our core symphonic concerts and innovative programming changes (including the KeyBank Fridays@7 and Celebrity series). Our education and community programs are also scoring strong successes. Our longstanding commitment to education was celebrated in March, including a unique showcase concert featuring all our youth ensembles performing together with The Cleveland Orchestra for the first time — a special event that was telecast on WVIZ. In addition, we believe that the introduction of “Make Music!” as a focus and catalyst for our ongoing work in music education will bring new understanding and energy to these programs. New initiatives in the community include the Orchestra’s inaugural neighborhood residency, “At Home in Gordon Square,” which unleashes a week filled with free events and performances, May 11-17, as part of the vibrant renaissance of this westside neighborhood. Good news about The Cleveland Orchestra and Northeast Ohio will continue. The initial stages of our Sound for the Centennial Campaign’s endowment and special fundraising phases have been strong, as evidenced by The Cleveland Foundation’s generous gift and by commitments from additional forward-looking organizations and individuals (see pages 50-51). This Campaign spans the decade up to the Orchestra’s hundredth birthday in 2018, and comprises all our fundraising efforts across the next five years. With your support and enthusiasm, there will be more good news ahead — for The Cleveland Orchestra and the entire Northeast Ohio community.

Severance Hall 2012-13

Gary Hanson



PHOTO OF THE WEEK follow the Orchestra on Facebook for more archival photos

SYMPHONY AND BASEBALL — In the summer of 1953, when Public Auditorium was

undergoing renovations, The Cleveland Orchestra’s series of popular summer concerts became pre-game performances at Cleveland Stadium. In this photograph, Louis Lane conducts while Indians team members pose and listen.

of Music Director Franz Welser-Möst, The Cleveland Orchestra has become one of the most sought-after performing ensembles in the world. In concerts at its winter home at Severance Hall and at each summer’s Blossom Festival, in residencies from Miami to Vienna, and on tour around the world, The Cleveland Orchestra sets standards of artistic excellence, creative programming, and community engagement. The partnership with Franz Welser-Möst, now in its eleventh season — and with a commitment to the Orchestra’s centennial in 2018 — has moved the ensemble forward with a series of new and ongoing initiatives, including: UNDER THE LEADERSHIP

the establishment of residencies around the world, fostering creative artistic growth and an expanded financial base, including an ongoing residency at the Vienna Musikverein (the first of its kind by an American orchestra); expansion of education and community programs in Northeast Ohio to make music an integral and regular part of everyday life for more people; the 2012-13 season includes the launch of an annual Neighborhood Residency pro-


About the Orchestra

The Cleveland Orchestra

gram that will bring The Cleveland Orchestra to neighborhoods across the region for an intensive week of special activities and performances. First stop is the Gordon Square Arts District in Cleveland’s Detroit/Shoreway neighborhood in May 2013; an ongoing residency in Florida, under the name Cleveland Orchestra Miami, involving an annual series of concerts and community activities, coupled with an expansive set of educational presentations and collaborations (based on successful educational programs pioneered at home in Cleveland); creative new artistic collaborations, including staged works and chamber music performances, with arts institutions in Northeast Ohio and in Miami; an array of new concert offerings (including Fridays@7 and Celebrity Series at Severance Hall as well as movie, themed, and family presentations at Blossom) to make a wider variety of concerts more available and affordable; concert tours from coast to coast in the United States, including annual appearances at Carnegie Hall; regular concert tours to Europe and Asia; ongoing recording activities, including new releases under the direction of Franz Welser-Möst, Mitsuko Uchida, and Pierre Boulez, as well as a series of DVD concert presentations of symphonies by Anton Bruckner; a concentrated and ongoing effort to develop future generations of audiences for Cleveland Orchestra concerts in Northeast Ohio, through research, targeted discounts, social media offers and promotion, and student ticket programs; continuing and expanded educational partnerships with schools, colleges, and universities across Northeast Ohio and in the Miami-Dade community; additional new residencies at Indiana University and at New York’s Lincoln Center Festival; the return of ballet as a regular part of the Orchestra’s presentations, featuring performances by The Joffrey Ballet; the 2012-13 season featured the Orchestra’s first fully staged performances of Tchaikovsky’s The Nutcracker. The Cleveland Orchestra was founded in 1918 by a group of local citizens intent on creating an ensemble worthy of joining America’s ranks of major symphony orchestras. Over the ensuing decades, the Orchestra quickly grew from a fine regional organization to being one of the most admired symphony orchestras in the world. The opening in 1931 of Severance Hall as the Orchestra’s home brought a special pride to the ensemble and its hometown, as well as providing an enviable and intimate acoustic environment in which to develop and refine the Orchestra’s artistry. Year-round performances became a reality in 1968 with the opening of Blossom Music Center, one of the most beautiful and acoustically admired outdoor concert facilities in the United States. Severance Hall 2012-13

The Orchestra Today


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as of February 2013

operating The Cleveland Orchestra, Severance Hall, and Blossom Music Festival O F F I C E R S A ND E X E C UT IVE C O MMI T T E E Dennis W. LaBarre, President Richard J. Bogomolny, Chairman The Honorable John D. Ong, Vice President

Norma Lerner, Honorary Chair Raymond T. Sawyer, Secretary Beth E. Mooney, Treasurer

Jeanette Grasselli Brown Alexander M. Cutler Matthew V. Crawford David J. Hooker Michael J. Horvitz

Douglas A. Kern Virginia M. Lindseth Alex Machaskee Nancy W. McCann John C. Morley

Larry Pollock Alfred M. Rankin, Jr. Audrey Gilbert Ratner Barbara S. Robinson

R E S I D E NT TR U S T E E S George N. Aronoff Dr. Ronald H. Bell Richard J. Bogomolny Charles P. Bolton Jeanette Grasselli Brown Helen Rankin Butler Scott Chaikin Paul G. Clark Owen M. Colligan Robert D. Conrad Matthew V. Crawford Alexander M. Cutler Terrance C. Z. Egger Hiroyuki Fujita Paul G. Greig Robert K. Gudbranson Iris Harvie Jeffrey A. Healy Stephen H. Hoffman David J. Hooker Michael J. Horvitz Marguerite B. Humphrey David P. Hunt Christopher Hyland

James D. Ireland III Trevor O. Jones Betsy Juliano Jean C. Kalberer Nancy F. Keithley Christopher M. Kelly Douglas A. Kern John D. Koch S. Lee Kohrman Charlotte R. Kramer Dennis W. LaBarre Norma Lerner Virginia M. Lindseth Alex Machaskee Robert P. Madison Milton S. Maltz Nancy W. McCann Thomas F. McKee Beth E. Mooney John C. Morley Donald W. Morrison Meg Fulton Mueller Gary A. Oatey Katherine T. O’Neill

The Honorable John D. Ong Larry Pollock Alfred M. Rankin, Jr. Clara T. Rankin Audrey Gilbert Ratner Charles A. Ratner James S. Reid, Jr. Barbara S. Robinson Paul Rose Steven M. Ross Raymond T. Sawyer Luci Schey Neil Sethi Hewitt B. Shaw, Jr. Richard K. Smucker R. Thomas Stanton Thomas A. Waltermire Geraldine B. Warner Jeffrey M. Weiss Norman E. Wells Paul E. Westlake Jr. David A. Wolfort

NO N- R E S I D E NT T RUS T E E S Virginia Nord Barbato (NY) Wolfgang C. Berndt (Austria) Laurel Blossom (SC)

Richard C. Gridley (SC) George Gund III (CA)* Loren W. Hershey (DC)

Herbert Kloiber (Germany) Ludwig Scharinger (Austria) *deceased

TR U S TE E S E X- O FFIC IO Faye A. Heston, President, Volunteer Council of The Cleveland Orchestra Beth Schreibman Gehring, President, Women’s Committee of The Cleveland Orchestra Claire Frattare, State Chair, Blossom Women’s Committee TR U S TE E S E M ERIT I Clifford J. Isroff Samuel H. Miller David L. Simon PA S T PR E S I D E NT S D. Z. Norton 1915-21 John L. Severance 1921-36 Dudley S. Blossom 1936-38 Thomas L. Sidlo 1939-53

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee Dr. Lester Lefton, President, Kent State University Barbara R. Snyder, President, Case Western Reserve University

H O N O RARY T RUS TEES FOR LIFE Allen H. Ford Gay Cull Addicott Robert W. Gillespie Francis J. Callahan Dorothy Humel Hovorka Mrs. Webb Chamberlain Robert F. Meyerson Oliver F. Emerson Percy W. Brown 1953-55 Frank E. Taplin, Jr. 1955-57 Frank E. Joseph 1957-68 Alfred M. Rankin 1968-83

Ward Smith 1983-95 Richard J. Bogomolny 1995-2002, 2008-09 James D. Ireland III 2002-08

THE CLEVELAND ORCHESTRA Franz Welser-Möst, Music Director

Severance Hall 2012-13

Gary Hanson, Executive Director

Musical Arts Association



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Franz Welser-Möst Music Director Kelvin Smith Family Endowed Chair The Cleveland Orchestra


T H E 2 0 1 2 - 1 3 S E A S O N marks Franz Welser-Möst’s eleventh year as music director of The Cleveland Orchestra, with a long-term commitment extending to the Orchestra’s centennial in 2018. Under his direction, the Orchestra is acclaimed for its continuing artistic excellence, is enlarging and enhancing its community programming at home, is presented in a series of ongoing residencies in the United States and Europe, continues its historic championship of new composers through commissions and premieres, and has re-established itself as an important operatic ensemble. Concurrently with his post in Cleveland, Mr. Welser-Möst became general music director of the Vienna State Opera in September 2010. With a committed focus on music education in Northeast Ohio, Franz Welser-Möst has taken The Cleveland Orchestra back into public schools with performances in collaboration with the Cleveland Metropolitan School District. The initiative continues and expands upon Mr. Welser-Möst’s active participation in community concerts and educational programs, including the Cleveland Orchestra Youth Orchestra and partnerships with music conservatories and universities across Northeast Ohio. Under Mr. Welser-Möst’s leadership, The Cleveland Orchestra has established an ongoing biennial residency in Vienna at the famed Musikverein concert hall and another at Switzerland’s Lucerne Festival. Together, they have appeared in residence at Suntory Hall in Tokyo, Japan, and at the Salzburg Festival, where a 2008 residency included five sold-out performances of a staged production of Dvořák’s opera Rusalka. In the United States, Mr. Welser-Möst has established an annual multi-week Cleveland Orchestra residency in Florida under the name Cleveland Orchestra Miami and, in 2011, launched a new biennial residency at New York’s Lincoln Center Festival. To the start of this season, The Cleveland Orchestra has performed fourteen world and fifteen United States premieres under Franz Welser-Möst’s direction. Through the Roche Commissions project, he and the Orchestra have premiered works by Harrison Birtwistle, Chen Yi, Hanspeter Kyburz, George Benjamin, Toshio Hosokawa, and Matthias Pintscher in partnership with the Lucerne Festival and Carnegie Hall. In addition, the Daniel R. Lewis Young Composer Fellow program has brought new voices to the repertoire, including Pintscher, Marc-André Dalbavie, Susan Botti, Julian Anderson, Johannes Maria Staud, Jörg Widmann, and Sean Shepherd. Franz Welser-Möst has led a series of opera performances during his tenure

Severance Hall 2012-13

Music Director


in Cleveland, re-establishing the Orchestra as an important operatic ensemble. Following six seasons of opera-in-concert presentations, he brought fully staged opera back to Severance Hall with a three-season cycle of Zurich Opera productions of the MozartDa Ponte operas. He led concert performances of Strauss’s Salome at Severance Hall and at Carnegie Hall in May 2012. Franz Welser-Möst became general music director of the Vienna State Opera in 2010. His long partnership with the company has included acclaimed performances of Tristan and Isolde, a new production of Wagner’s Ring cycle with stage director SvenEric Bechtolf, and critically praised new productions of Hindemith’s Cardillac and Janáček’s Katya Kabanova and From the House of the Dead. During the 2012-13 season, his Vienna performances include Wagner’s Parsifal, Strauss’s Arabella and Ariadne auf Naxos, Puccini’s La Bohème, and Berg’s Wozzeck. Mr. Welser-Möst also maintains an ongoing relationship with the Vienna Philharmonic. Recent performances with the Philharmonic include appearances at the Lucerne Festival and Salzburg Festival, in Tokyo, and in concert at La Scala Milan, as well as leading the Philharmonic’s 2011 New Year’s Day concert, viewed by telecast in seventy countries worldwide; he conducted the New Year’s Day concert again at the start of 2013 and also leads the Philharmonic in a series of concerts at New York’s Carnegie Hall in March 2013. Across a decade-long tenure with the Zurich Opera, culminating in three seasons as general music director (2005-08), Mr. Welser-Möst led the company in more than 40 new productions and numerous revivals. Franz Welser-Möst’s recordings and videos have won major awards, including the Gramophone Award, Diapason d’Or, Japanese Record Academy Award, and two Grammy nominations. With The Cleveland Orchestra, he has created DVD recordings of live performances of Bruckner symphonies, presented in three acoustically distinctive venues (the Abbey of St. Florian in Austria, Vienna’s Musikverein, and Severance Hall). With Cleveland, he has also released a recording of Beethoven’s Ninth Symphony as well as an all-Wagner album featuring soprano Measha Brueggergosman. DVD releases on the EMI label have included Mr. Welser-Möst leading Zurich Opera productions of The Marriage of Figaro, Così fan tutte, Don Giovanni, Der Rosenkavalier, Fierrabras, and Peter Grimes. For his talents and dedication, Mr. Welser-Möst has received honors that include recognition from the Western Law Center for Disability Rights, honorary membership in the Vienna Singverein, appointment as an Academician of the European Academy of Yuste, a Gold Medal from the Upper Austrian government for his work as a cultural ambassador, a Decoration of Honor from the Republic of Austria for his artistic achievements, and the Kilenyi Medal from the Bruckner Society of America. He is the co-author of Cadences: Observations and Conversations, published in a German edition in 2007.


Music Director

The Cleveland Orchestra


“The Cleveland Orchestra proved that they are still one of the world’s great musical beasts. With Franz Welser-Möst conducting, this music . . . reverberated in the souls of the audience.” —Wall Street Journal

—The Guardian (London)


“Cleveland’s reputation as one of the world’s great ensembles is richly deserved.”

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Franz Welser-MÜst and The Cleveland Orchestra, performing Bruckner’s Fourth Symphony in concert at Severance Hall in April 2012.



FRANZ WELSER-MÖST M U S I C D I R E C TO R Kelvin Smith Family Chair


Blossom-Lee Chair

Yoko Moore


Clara G. and George P. Bickford Chair

Peter Otto


Jung-Min Amy Lee


Gretchen D. and Ward Smith Chair

Takako Masame Paul and Lucille Jones Chair

Wei-Fang Gu Drs. Paul M. and Renate H. Duchesneau Chair

Kim Gomez Elizabeth and Leslie Kondorossy Chair

Chul-In Park Harriet T. and David L. Simon Chair

Miho Hashizume Theodore Rautenberg Chair

Jeanne Preucil Rose Dr. Larry J.B. and Barbara S. Robinson Chair

Alicia Koelz Oswald and Phyllis Lerner Gilroy Chair

Yu Yuan Patty and John Collinson Chair

Isabel Trautwein Trevor and Jennie Jones Chair

Mark Dumm Gladys B. Goetz Chair

Alexandra Preucil Katherine Bormann Ying Fu


SECOND VIOLINS Stephen Rose * Alfred M. and Clara T. Rankin Chair

Emilio Llinas


James and Donna Reid Chair

Eli Matthews 1 Patricia M. Kozerefski and Richard J. Bogomolny Chair

Elayna Duitman Ioana Missits Carolyn Gadiel Warner Stephen Warner Sae Shiragami Vladimir Deninzon Sonja Braaten Molloy Scott Weber Kathleen Collins Beth Woodside Emma Shook Jeffrey Zehngut VIOLAS Robert Vernon * Chaillé H. and Richard B. Tullis Chair

Lynne Ramsey 1 Charles M. and Janet G. Kimball Chair

Stanley Konopka 2 Mark Jackobs Jean Wall Bennett Chair

Arthur Klima Richard Waugh Lisa Boyko Lembi Veskimets Eliesha Nelson Joanna Patterson Zakany Patrick Connolly

The Orchestra

CELLOS Mark Kosower* Louis D. Beaumont Chair

Richard Weiss 1 The GAR Foundation Chair

Charles Bernard 2 Helen Weil Ross Chair

Bryan Dumm Muriel and Noah Butkin Chair

Tanya Ell Ralph Curry Brian Thornton David Alan Harrell Paul Kushious Martha Baldwin Thomas Mansbacher BASSES Maximilian Dimoff * Clarence T. Reinberger Chair

Kevin Switalski 2 Scott Haigh 1 Mary E. and F. Joseph Callahan Chair

Mark Atherton Thomas Sperl Henry Peyrebrune Charles Barr Memorial Chair

Charles Carleton Scott Dixon Derek Zadinsky HARP Trina Struble * Alice Chalifoux Chair

The Cleveland Orchestra

12 13 O R C H E S T R A FLUTES Joshua Smith * Elizabeth M. and William C. Treuhaft Chair

Saeran St. Christopher Marisela Sager 2 Austin B. and Ellen W. Chinn Chair

Mary Kay Fink PICCOLO Mary Kay Fink Anne M. and M. Roger Clapp Chair

OBOES Frank Rosenwein * Edith S. Taplin Chair

Mary Lynch Jeffrey Rathbun 2 Everett D. and Eugenia S. McCurdy Chair

Robert Walters ENGLISH HORN Robert Walters Samuel C. and Bernette K. Jaffe Chair

CLARINETS Franklin Cohen * Robert Marcellus Chair

Robert Woolfrey Daniel McKelway 2 Robert R. and Vilma L. Kohn Chair

Linnea Nereim E-FLAT CLARINET Daniel McKelway Stanley L. and Eloise M. Morgan Chair

BASS CLARINET Linnea Nereim BASSOONS John Clouser * Louise Harkness Ingalls Chair

William Hestand Barrick Stees 2 Sandra L. Haslinger Chair

Jonathan Sherwin

HORNS Richard King * George Szell Memorial Chair

Michael Mayhew § Knight Foundation Chair

Jesse McCormick Hans Clebsch Alan DeMattia TRUMPETS Michael Sachs * Robert and Eunice Podis Weiskopf Chair

Jack Sutte Lyle Steelman2 James P. and Dolores D. Storer Chair

Michael Miller CORNETS Michael Sachs * Mary Elizabeth and G. Robert Klein Chair

Michael Miller

PERCUSSION Jacob Nissly * Margaret Allen Ireland Chair

Donald Miller Tom Freer Marc Damoulakis KEYBOARD INSTRUMENTS Joela Jones * Rudolf Serkin Chair

Carolyn Gadiel Warner Marjory and Marc L. Swartzbaugh Chair


Karyn Garvin MANAGER

TROMBONES Massimo La Rosa* Gilbert W. and Louise I. Humphrey Chair

Richard Stout Alexander and Marianna C. McAfee Chair

Shachar Israel 2 BASS TROSMBONE Thomas Klaber EUPHONIUM AND BASS TRUMPET Richard Stout TUBA Yasuhito Sugiyama* Nathalie C. Spence and Nathalie S. Boswell Chair

TIMPANI Paul Yancich * Otto G. and Corinne T. Voss Chair

Tom Freer 2

ENDOWED CHAIRS CURRENTLY UNOCCUPIED Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown Chair Sidney and Doris Dworkin Chair Sunshine Chair

* Principal § 1 2

Associate Principal First Assistant Principal Assistant Principal


Giancarlo Guerrero


James Feddeck


Elizabeth Ring and William Gwinn Mather Chair

Robert Porco

CONTRABASSOON Jonathan Sherwin

Severance Hall 2012-13



Frances P. and Chester C. Bolton Chair

The Orchestra


WE LIGHT THE WAY To new beginnings and healthier tomorrows

Si s ter s of C h a r it yHe a lt h.or g / Joi nUs In C l e v e l a n d : S t . V i n c e n t C h a r i t y M e d i c a l C e n t e r, S t . J o h n M e d i c a l C e n t e r*, S i s t e r s o f C h a r i t y F o u n d a t i o n o f C l e v e l a n d , B u i l d i n g H e a l t h y C o m m u n i t i e s , R e g i n a H e a l t h C e n t e r, J o s e p h ’s H o m e , L i g h t o f H e a r t s V i l l a*, * Joint ventures with partners C a t h o l i c C o m m u n i t y C o n n e c t i o n*, I n d e p e n d e n t P h y s i c i a n S o l u t i o n s Canton, Ohio i Cleveland, Ohio i Columbia, South Carolina

A Ministry of the Sisters of Charity of St. Augustine


Cleveland Foundation grants Orchestra $10 million Largest gift to an arts organization in Foundation’s history is vote of confidence in The Cleveland Orchestra’s programming innovations and community engagement across Northeast Ohio

—Cleveland Plain Dealer, March 28

The Cleveland Foundation has awarded The Cleveland Orchestra a $10 million grant to support its ongoing efforts to cultivate new and broader audiences and to build a strong endowment to sustain the nearly century-old institution. The grant . . . is a demonstration of the grantmaking organization’s confidence in the strategic direction the orchestra is taking, said Robert Eckardt, The Cleveland Foundation’s executive vice president. . . . “It was time to step up and provide a significant commitment to the Orchestra as they work through the challenging environment they find themselves in,” Mr. Eckardt said. . . . “They are an important part of Cleveland’s brand, and it’s difficult to imagine Cleveland without a world-class orchestra.” . . . Gary Hanson, the orchestra’s executive director, stated that The Cleveland Foundation’s commitment . . . adds “meaningful momentum” to the Orchestra’s Sound for the Centennial fundraising campaign, which runs through 2018 — the orchestra’s 100-year anniversary.

Cleveland Orchestra News

—Crain’s Cleveland Business, March 28



Severance Hall 2012-13

“The Cleveland Foundation’s just-announced $10 million grant to The Cleveland Orchestra — the largest arts grant in the foundation’s history — is a ringing vote of confidence in the future of this treasured local institution and its pacesetting innovations. . . . The grant is a welcome affirmation that The Cleveland Orchestra will be making beautiful music for another 100 years.”


On March 28, The Cleveland Foundation announced the awarding of a five-year, $10 million grant to The Cleveland Orchestra in support of the Orchestra’s recent and ongoing efforts to attract a new, broader audience and to transform itself for the future. Given as part of the Orchestra’s Sound for the Centennial Campaign, this unprecedented grant is the largest single grant to an arts organization in the Foundation’s 99-year history. “We are deeply grateful for the Cleveland Foundation’s extraordinary grant and the confidence in the Orchestra’s strategic direction that it represents,” says Gary Hanson, executive director of The Cleveland Orchestra. “Over the past year, the foundation’s staff and board have rigorously assessed the Orchestra’s ongoing transformation and we sincerely appreciate their generous commitment to our work.” “Through the years, the Cleveland Foundation has stepped up to provide significant support to major Northeast Ohio institutions at pivotal times,” remarked Ronald B. Richard, president and chief executive officer of the Foundation. “We intend that this grant will catalyze additional leadership funding for the Orchestra’s creative efforts in the community to make this world-class institution accessible and enjoyable to all of Greater Cleveland for years to come.” The grant to the Orchestra was part of a record $26.6 million in grants in the first quarter of 2013 authorized by the Foundation’s board of directors, including grants in support of core neighborhood and youth initiatives, educational institutions, and efforts to create a vibrant downtown. Established in 1914, the Cleveland Foundation is the world’s first community foundation and one of the largest today. Through the generosity of donors, the foundation improves the lives of Greater Clevelanders by building community endowment, addressing needs through grantmaking, and providing leadership on vital issues.





OrchestraNews 2013-14 Season at Severance Hall announced

Franz Welser-Möst’s twelfth season of subscription concerts features a Fall Festival of Beethoven and Shostakovich, a celebration of English composer Benjamin Britten, and semi-staged opera




The Cleveland Orchestra has announced its 2013-14 season, with complete details and renewal forms due to be mailed to all current subscribers in the coming weeks. (For the first time, series subscriptions can be renewed online through the Orchestra’s website — complete instructions are included in each subscriber’s mailed renewal package.) Series packages for the season’s classical concerts are available through Severance Hall Ticket Services as of the end of March. Individual tickets to the season will go on sale in late summer. Additional details about the 2013-14 season — including Celebrity Series, Family Concert Series, PNC Musical Rainbows, Holiday Concerts, and special presentations — will be announced in the coming months. For the 2013-14 season, Franz WelserMöst introduces a Fall Festival, pairing symphonies by Beethoven and Shostakovich, and an all-Brahms weekend with two programs featuring works by Brahms, and also leads semi-staged performances of Janáček’s The Cunning Little Vixen. Guest artists returning to Severance Hall include Leon Fleisher, Mitsuko Uchida, Radu Lupu, and conductors Christoph von Dohnányi, Pierre Boulez, and Herbert Blomstedt. The Orchestra commemorates the 100th anniversary of the birth of Benjamin Britten with performances of three of his major works. FRANZ WELSER-MÖST CONDUCTS In his twelfth season as music director, Franz Welser-Möst introduces a Fall Festival in October, featuring symphonies by Beethoven and Shostakovich in three programs. Beethoven’s Symphonies Nos. 3, 4, and 5 are paired with Shostakovich’s Nos. 6, 8, and 10. In addition to conducting the performances at Severance Hall, Welser-Möst will speak about the program pairings in a special festival preview. “The dream of freedom inspired the


founding of our society,” says Welser-Möst. “Political and social freedom is presented so emotionally and clearly in Beethoven’s music. By listening to the music of Beethoven and Shostakovich in juxtaposition, we can experience their ideas of freedom from different eras, yet from today’s perspective.” Franz Welser-Möst continues an emphasis on operatic and choral repertoire in the 2013-14 season, with the Cleveland premiere performances of Janáček’s opera The Cunning Little Vixen and performances of Beethoven’s Mass in C major and Britten’s Spring Symphony. Soprano Martina Janková returns to perform the title role in The Cunning Little Vixen in May 2014. The cast also includes bass-baritone Alan Held and mezzo-sopranos Jennifer Johnson Cano and Julie Boulianne. The music of Brahms will be featured in two programs led by Welser-Möst in January 2014. Each program features the Violin Con-

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News Boulez

leading performances of Dvořák’s Cello Concerto with Cleveland Orchestra principal cello Mark Kosower paired with Tchaikovsky’s Symphony No. 6 (“Pathétique”).



certo with guest soloist Julia Fischer, paired either with Symphony No. 2 or Symphony No. 4.

GLOBAL AMBASSADORS Beyond the concert season at Severance Hall, Franz Welser-Möst and The Cleveland Orchestra embark on their 13th international tour together in November 2013. The tour launches with a performance on the Great Performers series at Lincoln Center in New York. In Europe, the Orchestra will perform twelve concerts, including a week-long residency at Vienna’s Musikverein.

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Robert L. Cronquist – Music Director with guest artists Jinjoo Cho and Cicely Parnas  OO C O


Photo Christian Steiner

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Brahms Double Concerto for Violin, Cello and Orchestra in A minor, op. 102 rooϐieff ›mphon› o. ͹, op. 1͵1


BOULEZ, DOHNÁNYI, AND BLOMSTEDT Pierre Boulez returns to conduct two programs in February 2014. Schoenberg’s Verklärte Nacht (“Transfigured Night”) opens the first program, which also includes Bartók’s Violin Concerto No. 2 with Nikolaj Znaider. The second program features Debussy’s La Mer (“The Sea”) and Prelude to the Afternoon of a Faun. Christoph von Dohnányi, the Orchestra’s music director laureate, returns to conduct an all Schumann program with Symphonies Nos. 2 and 4, in March 2014. Herbert Blomstedt makes his sixth set of appearances at Severance Hall in April 2014,

BENJAMIN BRITTEN COMMEMORATION During the 2013-14 season, The Cleveland Orchestra will mark the 100th anniversary commemoration of Benjamin Britten’s birth. Born November 22, 1913, Britten is one of the most celebrated and most performed British composers. In March 2014, Franz Welser-Möst conducts Britten’s Spring Symphony, a large work with soloists and chorus that Britten described as “a symphony not only dealing with the Spring itself but with the progress of Winter to Spring and the reawakening of the earth and life which that means.” In October 2013, Marek Janowski leads performances of Britten’s Serenade for Tenor, Horn, and Strings with soloists Matthew Polenzani and Cleveland Orchestra principal horn Richard King. The Serenade is a song cycle about night, sleep, and death, with texts by six British poets. And in May 2014, Janine Jansen performs Britten’s Violin Concerto under the direction of Vladimir Jurowski.



OrchestraNews George Gund Foundation supports The Cleveland Orchestra’s “Sound for the Centennial Campaign” with $3 million gift




The George Gund Foundation awarded a $3 million grant at its February board meeting to support The Cleveland Orchestra’s Sound for the Centennial Campaign. Pledged over six years, the award honors the late George Gund III, who was a trustee of the Musical Arts Association. The Foundation’s commitment permanently endows a new Fund for Artistic Excellence in George Gund’s name, providing immediate support for the Orchestra’s core artistic programming for the community. “This commitment to the Campaign not only celebrates George Gund’s legacy and leadership at the Orchestra,” said David Abbott, the Foundation’s executive director. “It also ensures that one of our community’s most valuable assets can continue to serve Northeast Ohio at the

highest levels of artistic excellence.” George Gund III was elected as an international trustee in 1994 and served on the board of the Musical Arts Association for 19 years. The new gift is the largest gift made by the Gund Foundation to The Cleveland Orchestra, and ranks among the largest institutional leadership commitments to the Sound for the Centennial Campaign thus far, as well as among the Foundation’s largest commitments to a cultural organization in Northeast Ohio. The Orchestra’s Sound for the Centennial Campaign runs through the Orchestra’s centennial in 2018 and will ensure that the Orchestra can continue to thrive now and into the future by building a significant endowment and providing immediate support for artistic excellence and community and education programs.

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Chorus auditions announced for children, youth, and adult singers for Blossom and 2013-14

pare a piece from the OMEA Solo & Ensemble list, or an equivalent classical solo piece; Broadway or “pop” tunes are not acceptable. In addition to the prepared piece, students will be asked to sight-read and demonstrate their vocal range. An accompanist is provided at the audition. The Cleveland Orchestra Chorus is one of the few professionally trained, all-volunteer choruses sponsored by a major American orchestra. Coming from nearly fifty Northeast Ohio communities, members of the Chorus perform with The Cleveland Orchestra in subscription and Christmas concerts each year. Previous choral experience and sight-reading skills are required. The Blossom Festival Chorus includes many members of the Cleveland Orchestra Chorus and other Northeast Ohio choral groups. It has established itself as a permanent annual part of the summertime Blossom Festival and has sung in more than 100 concerts since its 1968 debut. Both groups are directed by Robert Porco. Auditions for the Cleveland Orchestra Chorus and Blossom Festival Chorus will be held May 20 and 21, by appointment only. Those auditioning are asked to prepare two pieces from the classical literature, one of which should be in a foreign language. Each piece should be approximately two minutes in length. Previous choral experience and sight-reading skills are required. An accompanist is provided at the audition. To schedule an audition, call the Chorus Office at 216-231-7374, or send an email to



Cleveland Orchestra News


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Spring audition dates for the choral groups sponsored by The Cleveland Orchestra have been announced. The auditions — for adults, youth, and children — are for membership in groups singing during the 2013 Blossom Music Festival and the 2013-14 Season at Severance Hall. Auditions will take place in May and June. The Cleveland Orchestra Choruses embody a long-standing commitment to choral music in which community members of all ages have the opportunity to participate. The Cleveland Orchestra Children’s Chorus is open to students in grades 6-8 and directed by Ann Usher, and the Cleveland Orchestra Children’s Preparatory Chorus is open to students in grades 5-8 and directed by Suzanne Walters. Both groups are holding auditions on May 20, June 3, and June 8. The Children’s Chorus, formed in 1967, provides musical training in vocal production and choral performance skills. The Children’s Preparatory Chorus provides children with initial choral experiences to which younger singers may not have been exposed, while establishing a solid foundation in vocal production techniques. To audition, children are asked to sing one verse of “America” (My Country, ’Tis of Thee) with piano accompaniment in the key of his or her choice and one verse of “America the Beautiful” (Oh beautiful, for spacious skies) without accompaniment in the key of D. Singing scales and doing some rhythmic exercises may also be included in the audition, for which an accompanist is provided. Students in grades 9-12 are welcome to audition for the Cleveland Orchestra Youth Chorus, directed by Lisa Wong, on May 4, June 1, or June 2. Created in 1991, the Youth Chorus helps raise awareness of choral music-making in the schools of Northeast Ohio and encourages students to continue their choral activities through college and into adulthood. The Youth Chorus collaborates each season in performance with the Cleveland Orchestra Youth Orchestra. Youth Chorus audition requirements are to pre-

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Longterm generosity and new commitments by Kulas Foundation and John P. Murphy Foundation recognized through the naming of Severance Hall’s upper lobby and dress circle seating


Committed to Accessibility Severance Hall is committed to making performances and facilities accessible to all patrons. For information about accessibility or for assistance, call the House Manager at 216 231-7425.

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ing more local residents through transformative and innovative musical programming.” With the naming of the Kulas Dress Circle, the Orchestra permanently honors the Kulas Foundation, which has generously supported The Cleveland Orchestra for three-quarters of a century. With their lifelong passion of music, Elroy J. Kulas and his wife, Fynette, began supporting the Orchestra in 1919, long before they established the Kulas Foundation in 1937. Both later served as active members of the Musical Arts Association board of trustees. In the past three decades, the Kulas Foundation has contributed more than $10 million to The Cleveland Orchestra. Their generosity has helped support education programs as well as the construction and naming of Kulas Plaza at Blossom Music Center to provide updated services for donors. They recently committed $3 million for the Sound for the Centennial Campaign. “We are extraordinarily grateful to Kulas Foundation trustees Richard W. Pogue, Patrick F. McCartan, and Nancy W. McCann for their leadership in working to support The Cleveland Orchestra,” said Gary Hanson. “The Cleveland Orchestra is among Northeast Ohio’s top cultural gems,” continued Nancy McCann. “With our commitment to this Campaign, the Kulas Foundation honors the ensemble’s 100th anniversary and looks forward to the Orchestra’s ongoing role as a strong and vibrant part of this community’s future.”


Two important parts of Severance Hall — the dress circle seating area of the Concert Hall, and the adjoining dress circle lobby — have been named in recognition of longterm support for The Cleveland Orchestra by two extraordinary local organizations: the John P. Murphy Foundation and the Kulas Foundation. Both have long historical relationships with the Orchestra and have made generous new funding commitments to the Sound for the Centennial Campaign, which spans the decade leading to the Orchestra’s 100th anniversary in 2018. “These two foundations represent a special kind of strong, ongoing commitment to the Orchestra — and to the entire Northeast Ohio community,” said Gary Hanson, executive director of The Cleveland Orchestra, in announcing the named spaces. “We are humbled by their generosity and by their faith in the Orchestra’s efforts to transform itself and to harness the passion and power of music to serve more people across the region.” The John P. Murphy Foundation is now permanently honored at Severance Hall with the naming of the John P. Murphy Dress Circle Lobby. The Foundation and its trustees and officers have been generous supporters of The Cleveland Orchestra since 1970, contributing more than $7.5 million. John P. Murphy began serving on the Musical Arts Association board of trustees in 1953 and continued as a trustee until 1968. The Foundation has made a ten-year commitment of funding to The Cleveland Orchestra as part of the comprehensive Sound for the Centennial Campaign. “The John P. Murphy Foundation has long understood the tremendous value that The Cleveland Orchestra holds for all of Northeast Ohio,” says Nancy W. McCann, president of the Foundation’s board of trustees. “Our $3 million commitment to the Sound for the Centennial Campaign is an investment in this community that will help the Orchestra sustain its world-renowned level of artistic excellence while engag-



OrchestraNews A . R . O . U . N . D T. O .W. N Recitals and presentations featuring Orchestra musicians Upcoming local performances by members of The Cleveland Orchestra include:


Cleveland Orchestra members Takako Masame (violin), Katherine Bormann (violin), Lisa Boyko (viola), and Mary Kay Fink (piccolo) perform together as members of the Cleveland Chamber Collective in a program on Friday evening, April 19. The concert at Cleveland State University’s Drinko Hall (2001 Euclid Avenue) features works by Cleveland composers, including a premiere by Cleveland Orchestra oboist Jeffrey Rathbun.


Cleveland Orchestra member Eliesha Nelson (viola) joins with pianist James Housman for a concert on Sunday afternoon, April 28, at 3 p.m. at Pilgrim Congregational Church (2592 West 14th Street, Cleveland). The program, part of Arts Renaissance Tremont, includes works by Finney, Kapustin, and Schubert. Admission is by freewill offering. THE CLEVELAND ORCHESTRA

F.A.M.I.L.Y N.E.W.S Please join in extending congratulations and warm wishes to: Kim Gomez (violin) and James Gomez, whose baby girl, Christina Therese Gomez, was born on February 5.

Learn more about music and at this weekend’s concerts Founded in 2008 to enhance the information available about classical music across Northeast Ohio, publishes a comprehensive calendar each Tuesday of upcoming concert listings and previews, plus features and reviews of concerts and performances throughout the region. At this weekend’s Cleveland Orchestra concert, the publication’s editors and correspondents will be at information tables at Severance Hall — in the Smith lobby (before the concerts) and the Bogomolny-Kozerefski Grand Foyer (during intermission) — to meet audience members and interact in classical discussion. Take the opportunity to sign up for a free, weekly email blast of events and classical concerns.

Silence is golden As a courtesy to everyone around you, patrons are reminded to turn off cell phones and to disengage electronic watch alarms prior to each concert. 1.855.GO.STORM


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OrchestraNews Collaboration with Cleveland Museum of Art continues with “California Masterworks” concerts on May 1 and 3

serve University professor Henry Adams (speaking about modern and 20th-century California art), and concludes with a special performance of John Cage’s large-scale multi-media work HPSCHD in the Museum’s Ames Family Atrium on the evening of May 1, from 9 to 11 p.m. The Orchestra and Museum presented their first similar collaboration in 2011, with a series of in-gallery chamber orchestra performances titled “Italian Masterworks.” These Cleveland Orchestra performances are made possible in part by the Keithley Fund for Artistic Collaboration, created through a generous gift to the Orchestra’s endowment. Additional support is provided through endowed funds at the Cleveland Museum of Art. For more information or to purchase tickets to “California Masterworks,” visit the Museum’s website at


The Cleveland Orchestra and the Cleveland Museum of Art renew their collaborative work together in May with “California Masterworks,” featuring two Cleveland Orchestra concerts of works by groundbreaking composers associated with California. James Feddeck, Cleveland Orchestra assistant conductor, conducts two different programs, Wednesday, May 1, and Friday, May 3, at the Museum’s Gartner Auditorium. The programs feature works by John Adams, Henry Cowell, Lou Harrison, Terry Riley, James Tenney, and, in a posthumous world premiere, Dane Rudhyar. In addition to the concerts, “California Masterworks” will also include the showing of three films highlighting California composers (Crossroads and Music with Balls on April 26, and Lou Harrison: A World of Music on April 29), plus Concert Previews talks with Case Western Re-

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Concert Previews The Cleveland Orchestra offers a variety of options for learning more about the music before each concert begins. For each concert, the program book includes program notes commenting on and providing background about the composer and his or her work being performed that week, along with biographies of the guest artists and other information. You can read these before the concert, at intermission, or afterward. (Program notes are also posted ahead of time online at, usually by the Monday directly preceding the concert.) The Orchestra’s Music Study Groups also provide a way of exploring the music in more depth. These classes, professionally led by Dr. Rose Breckenridge, meet weekly in locations around Cleveland to explore the music being played each week and the stories behind the composers’ lives. Free Concert Previews are presented one hour before most subscription concerts throughout the season at Severance Hall. The previews (see listing at right) feature a variety of speakers and guest artists speaking or conversing about that weekend’s program, and often include the opportunity for audience members to ask questions.

Cleveland Orchestra Concert Previews are presented before every regular subscription concert, and are free to all ticketholders to that day’s performance. Previews are designed to enrich the concert-going experience for audience members of all levels of musical knowledge through a variety of interviews and through talks by local and national experts. Concert Previews are made possible by a generous endowment gift from Dorothy Humel Hovorka. April 4, 5, 6 “Mozart: Master of the Concerto” with Pierre van der Westhuizen, executive director, Cleveland International Piano Competition

April 11, 12, 13, 14 “The Story of Carmina Burana” with David J. Rothenberg, associate professor of musicology, Case Western Reserve University

April 18, 20, 21 “Just Between Us Composers” Sean Shepherd, Lewis Young Composer Fellow, in conversation with Keith Fitch, head of composition, Cleveland Institute of Music

April 25, 26, 27 “Haydn’s The Seasons” with Francesca Brittan, assistant professor of musicology, Case Western Reserve University

May 3, 4, 5 “Drama from Start to Finish” with Rose Breckenridge, Cleveland Orchestra Music Study Groups administrator and lecturer For Concert Preview details, visit

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Concert Previews


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Thursday evening, April 11, 2013, at 8:00 p.m. Friday evening, April 12, 2013, at 8:00 p.m. Saturday evening, April 13, 2013, at 8:00 p.m. Sunday afternoon, April 14, 2013, at 3:00 p.m.

James Feddeck, conductor johann sebastian bach (1685-1750)

12 13 SEASON

Concerto in A major, BWV1055 (for oboe d’amore and orchestra) 1. Allegro moderato 2. Larghetto 3. Allegro ma non tanto ROBERT WALTERS, oboe d’amore


carl orff (1895-1982)

Carmina Burana

Cantata for Solo Voices, Choruses, and Orchestra prologue Fortuna imperatrix mundi (“Fortune, Empress of the World”) Nos. 1-2 part one Primo vere (“Springtime”) Nos. 3-5 Uf dem Anger (“On the Lawn”) Nos. 6-10 part two In taberna (“In the Tavern”) Nos. 11-14 part three Cour d’Amours (“Court of Love”) Nos. 15-23 Blanziflor et Helena (“Blanziflor and Helena”) No. 24 epilogue Fortuna imperatrix mundi No. 25 REBECCA NELSEN, soprano NICHOLAS PHAN, tenor STEPHEN POWELL, baritone CLEVELAND ORCHESTRA CHORUS Robert Porco, director CLEVELAND ORCHESTRA CHILDREN’S CHORUS Ann Usher, director

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Concert Program — Week 18



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is a big piece of bold power and hard punch. Its music and rhythms and words range far and wide, from boisterous energy to velvety smoothness, from jerky spontaneity to harmonious delight. All in a wonderfully modern-ish exploration of a Medieval set of texts that prove, again and again, that however much times changes, many aspects of life remain on the same circular path — the seasons of the year, the seasons of love, from birth to death, and on and on we go, spiraling through the universe. With Fate in constant, languorous pursuit, always catching us in the end, between the miseries and joys of everyday life. The opening work on this weekend’s program presents a different kind of transformation. While best known as a concerto for harpsichord, good detective work and conjecture have allowed musicologists to reconstruct Bach’s original outlines for it, as a concerto for oboe d’amore (a middle-voiced member of the oboe family). The Cleveland Orchestra’s solo english horn player, Robert Walters, performs as soloist on this rarely heard instrument, with assistant conductor James Feddeck stepping in to conduct the entire program for Franz Welser-Möst.

With deep regret, and following the advice of his doctor, Franz Welser-Möst is unable to travel to Cleveland for this weekend’s concerts to allow for ongoing physical therapy for severe back pain. The originally-announced program is being conducted by James Feddeck, assistant conductor of The Cleveland Orchestra.

These concerts are sponsored by KeyBank, a Cleveland Orchestra Partner in Excellence. Rebecca Nelsen’s appearance with The Cleveland Orchestra is made possible by a gift to the Orchestra’s Guest Artist Fund from the Margaret R. Griffiths Trust. With these concerts, The Cleveland Orchestra gratefully honors The John P. Murphy Foundation for its generous support. The concerts will end at approximately 9:40 p.m. each evening and at about 4:40 on Sunday afternoon. LIVE RADIO BROADCAST

Saturday evening’s concert is being broadcast live on WCLV (104.9 FM). Current and past Cleveland Orchestra concerts are broadcast as part of regular weekly programming on WCLV (104.9 FM), Saturday evenings at 8:00 p.m. and Sunday afternoons at 4:00 p.m.

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Introducing the Program


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Concerto in A major, BWV1055 composed circa 1717-23 DURING HI S YOUTHFUL Y E ARS


Johann Sebastian


born March 21, 1685 Eisenach, Saxe-Eisenach, Germany died July 28, 1750 Leipzig

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as a court musician, first as Konzertmeister at Weimar (1708-1717), then as Kapellmeister (a loftier post) in Köthen (1717-1723), Bach had ample opportunity to compose secular music for the entertainment of his noble listeners. In Köthen particularly, the prince was a talented musician himself, and maintained an orchestra of eighteen or so first-rate players, able to handle whatever challenges the brilliant Kapellmeister threw their way. Several of the “Brandenburg” concertos, his solo concertos for violin or oboe, and the ground-breaking works for unaccompanied violin or cello all made their debuts in the capable hands of the Köthen virtuosos. Taking the post of Cantor and civic music director in Leipzig in 1723 meant years of working on little but church music, composing the series of weekly cantatas that would eventually span three years’ worth of Sundays, plus teaching and other official duties, and generally working to upgrade the city’s musical life. Despite the sobriety of his public role, the streak of showmanship in Bach’s nature could not be entirely suppressed — some prominent parishioners at St. Thomas’s Church registered dismay at his “extravagant” organ improvisations and his “operatic” cantatas. So it must have been with some relief that Bach, his church and civic workload lightened, found time in 1729 to add a new post, as director of the Collegium Musicum. This institution with the august-sounding name was in fact one of the city’s major entertainments and tourist attractions, a hard working orchestra of university students that played a demanding schedule of concerts at Zimmermann’s coffeehouse. Germany’s master showman, Georg Philipp Telemann, had founded it two decades before, and Bach evidently took delight in bringing his old court concertos and suites to a new, enthusiastic audience. The resourceful Bach seems to have composed few new works for these occasions, relying instead on his inventory, particularly of concertos for violin or oboe from his time in Köthen, many of which he converted into a new genre, the harpsichord concerto. In so doing, without realizing it, he was preserving works that would otherwise have been lost to posterity. By comparing the violin and oboe concertos that have survived About the Music


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to their keyboard versions, scholars have learned enough about Bach’s transcribing technique to plausibly reconstruct the lost originals of other works. As early as 1936, the celebrated musicologist Donald Francis Tovey observed that the main themes and figurations in the Harpsichord Concerto in A major, BWV1055, were well suited to the oboe d’amore. This instrument, to which Bach gave poignant solos in his cantatas, is to the oboe family what the viola is to string instruments — the “middle child,” with a range lower than the oboe but higher than the english horn, and therefore useful in ensembles. The oboe d’amore’s slightly deeper pitch, and possibly its bulb-shaped bell, give it the soft, sweet, “floating” tone that is probably responsible for its fanciful name. (Some authorities believe the name refers to “Moors,” the Arab inventors of this type of instrument.) Since Bach’s time, composers have called for the oboe d’amore rarely, the best-known instance being a solo in Ravel’s Boléro. Listeners may judge for themselves the effectiveness of the instrument in this richly imaginative concerto. The first movement casts aside the ritornello form of Vivaldi — an orchestral refrain alternating with showy episodes for the soloist — in favor of a more unified idea, music that is driven throughout by a bouncy three-note rhythmic motif of ta-ta-tum. Buoyed by the irresistible beat, the soloist plays the role of first among equals, leading the ensemble on a cheerful expedition to distant harmonic lands. In the second movement, the drop in key from A major to F-sharp minor signals a radical change of mood, from sunny good spirits to a more veiled kind of expression, with a strong note of pathos. Bach delivers on that promise with a theme made of short, sighing phrases, a particularly slow and sad version of the siciliano, a shepherd’s dance. The soloist’s flowing lines have a certain ineffable dignity as they wind around the theme, creating expressive dissonances. The cheerful confidence of A major returns in the first bars of the finale, as the ensemble kicks off its distinctive ritornello with an emphatic upbeat. Characteristically, the oboe d’amore does not try to top the strings in brilliance, but slips in under them with gentler phrases. Gradually, however, borrowing some vigorous phrases from the refrain and spinning out lively scale passages, the soloist takes charge, leading the ensemble to a triumphant final return of the ritornello theme.

At a Glance Bach wrote a number of concertos for solo instruments and small orchestras during his years at Anhalt-Köthen, including several for solo violin. None of the original manuscripts for these survives. Bach later reworked six of these pieces as concertos for harpsichord, playing them on programs of the Leipzig Collegium Musicum, which held regular concerts on Friday evenings at a local coffeehouse. The scores for these have survived, from which musicologists have been able to create versions of the original solo concertos, including a version of a concerto in A major for oboe d’amore (a middle-voiced relative of the oboe and english horn). This concerto runs about 15 minutes in performance. The scoring calls for an orchestra of strings and continuo, plus the solo oboe d’amore. The Cleveland Orchestra is presenting this concerto for the first time with this weekend’s concerts.

—David Wright © 2013 Severance Hall 2012-13

About the Music


Ancient catastrophe. Modern obsession.

The storied destruction of Pompeii remains a modern muse for artists from Duchamp and Warhol to Rothko, Ingres, and dozens more. Come see their powerful interpretations of this cataclysmic event, open now through July 7.

Come see amazing. 7YLZLU[PUNZWVUZVY


Carmina Burana composed 1935-36



ORFF born July 10, 1895 Munich died March 29, 1982 Munich

Severance Hall 2012-13

I T W A S E A R LY I N T H E 1 9 T H C E N T U R Y that the Middle Ages began exerting a certain fascination on modern people. Although the centuries between the fall of Rome and the Renaissance suffered no shortage of great scientists, artists, and philosophers, the young Romantic poets and painters saw in those middle times an alternative to the cool, rational spirit of the Enlightenment and the Industrial Revolution. They turned to the Gothic churches that stood all around them — many in a state of picturesque ruin — and conjured up an age of lusty monks and bawdy abbesses, a primitive “dark age” perhaps, but one unafraid to reach for both loft y ecstasies of the spirit and animal pleasures of the senses. After those poets and painters came cooler heads, scholarly medievalists concerned with cataloging, describing, and publishing works of art from that earlier period. It is to one of these, Johann Andreas Schmeller, that we owe the publication in 1847 of an important collection of 12th-century Latin and Old German secular poems, preserved in manuscript in an abbey in Benediktbeuren, near Munich. Schmeller gave them the title “Songs of Beuren” — in Latin, Carmina Burana. Today, the Middle Ages still conjure up vivid images. But to the fragrance of incense and wine, the 20th century has added the stench of warfare and pestilence. Chaucer gives way to Brueghel; our distant ancestors seem to have hungrily snatched their pleasures from the jaws of sickness and death. The musical expression of this idea crystallized suddenly in Frankfurt on June 8, 1937, at the first performance of Carmina Burana, a stunningly original setting of some of the poems from that manuscript, composed by a virtually unknown 41-year-old musician and teacher named Carl Orff. Subtitled Cantiones profanae, cantoribus et choris cantandae comitantibus instrumentis atque imaginibus magicis (“Worldly songs, performed by singers and chorus accompanied by instruments and magical representations”), this stage spectacle with dancing and music aimed to induce profound emotions in the listener by the simplest, most easily understood musical means. How well it succeeded may be judged by three facts. Unlike many ground-breaking new works, Carmina Burana was cheered at its premiere. Since then, many sophisticated musi-

About the Music


Conservatory Honors Celebration Sunday, April 28, 2013 2:00 p.m. Join our honors recital and recognition of named Conservatory scholarships recipients. Faculty-selected student performers will represent the best the BW Conservatory has to offer – woodwinds, brass, strings, percussion, voice, music theatre and more! Dessert reception immediately following in the Kulas lobby. Gamble Auditorium, Kulas Musical Arts Building 96 Front Street, Berea, Ohio

Free and open to the public. For more information about Baldwin Wallace and Conservatory events: or 440-826-8070 Baldwin Wallace University does not discriminate on the basis of race, creed, age, disability, national origin, gender or sexual orientation in the administration of any policies or programs.

cians have denounced it as primitive and vulgar. And, lastly, Hollywood immediately seized Orff ’s new idiom as the musical accompaniment to scenes of barbaric hedonism and splendor — to the point where we must now remind ourselves that what we are hearing in Carmina Burana is not another product of the MGM editing room but the real thing, the original. This is, of course, the same Carl Orff who forever altered the way music is taught to young children by inventing percussion instruments that they could play before they developed skill at the keyboard; more importantly, he insisted that music, dance, speech, and other modes of expression be taught together. (Which is to say that, perhaps, Carmina Burana should be staged more often as a theatrical work, and not left almost completely to the musical confines of concert halls and home stereos.) His medieval people are child-like in their whims and passions, and in their helplessness before powers greater than themselves. Percussion instruments, a prominent feature of medieval music and the Orff classroom, loom large in the scoring of Carmina Burana as well. Appropriately for a work inspired by the Middle Ages, Orff ’s spectacle-cantata forms a triptych — three scenes of medieval life: In Springtime, In the Tavern, and at the Court of Love — framed on each side by an ode to “Fortuna” or Fate, the capricious force that people in the pre-technological age knew and understood very well. The outburst of full orchestra and chorus that opens the work is steeped in terror and resignation. Orff uses repetition and driving rhythms — elements that repelled some of his first listeners, but that sound familiar enough in our age of musical minimalism — to convey the inexorable grinding of Fortune’s wheel. The people “suffer” in the word’s original sense — they yield to the inevitable, they endure. Their reward arrives “In Springtime,” here celebrated first with the undulating sensuality of Gregorian chant, anchored by single pedal notes in the orchestra, punctuated by taps of percussion. But then the chorus returns in a mood to celebrate, ushering in a giddy outdoor festival full of dancers, saucy and suggestive comments, and tunes more like German folksong than liturgical chant. At this party, each musical number is wilder and more abandoned than the previous one. “In the Tavern,” however, the pictures are different — a medieval “angry young man,” alienated, rootless, living for Severance Hall 2012-13

About the Music

At a Glance Orff composed Carmina Burana in 1935-36. The work was premiered on June 8, 1937, in a staged performance (with sets and costumes) at the Frankfurt Opera, conducted by Bertil Wetzelberger. The first performance in the United States took place on January 10, 1954, in San Francisco. Carmina Burana runs about one hour in performance. Orff scored it for an orchestra of 3 flutes (second and third doubling piccolo), 3 oboes (third doubling english horn), 3 clarinets (third doubling piccolo clarinet in E-flat), bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (3 glockenspiels, xylophone, castanets, ratchet, jingles, 2 antique cymbals, 4 cymbals, tamtam, 3 bells, tubular bells, tambourine, 2 side drums, bass drum), 2 pianos, celesta, and strings, plus soprano, tenor, and baritone soloists, children’s chorus, and mixed chorus. The Cleveland Orchestra first performed Carmina Burana at the inaugural Blossom Festival in August 1968, under the direction of Louis Lane. The most recent performances took place in May 2010 at Severance Hall, led by Robert Porco.




– Marshall McLuhan, 1911-1980


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vice; a beautiful bird roasted black for men’s hungry mouths; a smarmy hustler-Abbot, living on others’ misfortunes; and a chorus of desperate men drinking to forget. All singing in accents ranging from stark anguish to gloating and even a sarcastic parody of an operetta chorus. What a relief to leave that bitter place for “The Court of Love”! Even here, though, some longings go unrequited, and dark orchestral colors conjure up the lonely corners where the solitary bemoan their fate. Gradually, however, the music grows in brightness and energy, culminating in the ecstatic musings of the maiden drawn toward love; here Orff seems to forget about the Middle Ages entirely, turning instead to Richard Strauss or even Sergei Rachmaninoff for a suitable, smooth, and sensuous musical idiom. (What is a children’s chorus doing amid such erotic goings-on? Teacher Orff invokes the spontaneity of children, and the childlike delight we so-called “adults” should take in love.) Eventually, the love section’s closing hymn so melds the erotic and the divine that one can hardly tell which is which. And then, amid all this joy, the fearsome memento mori stands once again at the door. The return of the chorus “O Fortuna” reminds us that, whatever our desires or pretensions, implacable Fate always awaits us. —David Wright © 2013 David Wright lives and writes in Wellesley, Massachusetts. He previously served as program annotator for the New York Philharmonic.

Severance Hall 2012-13

About the Music

Medieval tarot cards cast fate and fortune by chance, echoing the wheel of fortune in Carmina Burana.



Sound for the Centennial The Cleveland Orchestra’s artistic health and financial well-being depend on the dedicated and ongoing support of music-lovers throughout Northeast Ohio. The Orchestra’s continued excellence in community service and musical performance can only be ensured through ongoing annual support coupled with increased giving to the Endowment and special fundraising. As the Orchestra approaches its centennial celebration in 2018, the individuals and organizations listed on these pages have made longterm commitments to secure the financial stability of our great Orchestra. This listing represents multi-year commitments of annual and endowment support, and legacy gift declarations, as of April 5, 2013. The Cleveland Orchestra and Musical Arts Association gratefully recognize the transformational support and extraordinary commitment of these individuals, corporations, and foundations toward the Orchestra’s future. To join your name to these visionary contributors, please contact Jon Limbacher, Chief Development Officer, at 216-231-7520. GIFTS OF $5 MILLION AND MORE

The Cleveland Foundation Mr. and Mrs. Alexander M. Cutler

Maltz Family Foundation Anonymous


Art of Beauty Company, Inc. BakerHostetler Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mrs. M. Roger Clapp Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. The George Gund Foundation Mr. and Mrs. Michael J. Horvitz The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley KeyBank Kulas Foundation Mr. and Mrs. Dennis W. LaBarre Mrs. Norma Lerner The Lubrizol Corporation The Andrew W. Mellon Foundation

David and Inez Myers Foundation Ms. Beth E. Mooney Sally S. and John C. Morley John P. Murphy Foundation NACCO Industries, Inc. Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Alfred M. Rankin, Jr. Mr. and Mrs. Albert B. Ratner James and Donna Reid Barbara S. Robinson The Sage Cleveland Foundation Ralph and Luci Schey Foundation The Kelvin and Eleanor Smith Foundation The J. M. Smucker Company Joe and Marlene Toot Anonymous


Gay Cull Addicott Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Richard and Ann Gridley The Louise H. and David S. Ingalls Foundation Mr. and Mrs. Douglas A. Kern


Mr. and Mrs. Jon A. Lindseth Ms. Nancy W. McCann The Honorable and Mrs. John Doyle Ong The Payne Fund Mr. and Mrs. Richard K. Smucker

Sound for the Centennial Campaign

The Cleveland Orchestra

GIFTS OF $250,000 TO $500,000

Randall and Virginia Barbato John P. Bergren* and Sarah S. Evans Mr. and Mrs.* Harvey Buchanan Cliffs Natural Resources Mr. and Mrs. Matthew V. Crawford Nancy and Richard Dotson Sidney E. Frank Foundation David and Nancy Hooker Mrs. Marguerite B. Humphrey James D. Ireland III Trevor and Jennie Jones Giuliana C. and John D. Koch Dr. Vilma L. Kohn

Mr. Clarence E. Klaus, Jr. Mr. and Mrs. Alex Machaskee Mr. Donald W. Morrison Margaret Fulton-Mueller William J. and Katherine T. O’Neill Parker Hannifin Corporation Charles and Ilana Horowitz Ratner Mr. and Mrs. James A. Saks The Skirball Foundation Mr. and Mrs. Jules Vinney* David A. and Barbara Wolfort

GIFTS OF $100,000 TO $250,000

Mr. and Mrs. George N. Aronoff Ben and Ingrid Bowman George* and Becky Dunn Dr. and Mrs. Hiroyuki Fujita Albert I. and Norma C. Geller Iris and Tom Harvie Jeff and Julia Healy Mr. and Mrs. S. Lee Kohrman Mrs. Emma S. Lincoln Mr. Gary A. Oatey RPM International Inc.

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Hewitt and Paula Shaw Naomi G. and Edwin Z. Singer Virginia and Bruce Taylor Ms. Ginger Warner Denise G. and Norman E. Wells, Jr. Family Foundation Mr. Max W. Wendel Paul and Suzanne Westlake Marilyn J. White Mr. Donald Woodcock * deceased

Sound for the Centennial Campaign


In tune with each other and committed to excellence in Northeast Ohio.

perfect harmony The Cleveland Orchestra. Tucker Ellis.



Fortuna Imperatrix Mundi (“Fortune, Empress of the World”) 1. Chorus O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O Fortune! Like the moon ever-changing rising first then declining; hateful life treats us badly then with kindness making sport with our desires, causing power and poverty alike to melt like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Dread Destiny and empty fate, an ever-turning wheel, you make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; through your trickery my naked back is turned to you unarmed.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Good fortune and strength now are turned from me. Affection and defeat are always on duty, come now, pluck the strings without delay; since fate strikes down the strong weep everyone with me.

2. Chorus Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur fronte capillata, sed plerumque sequitur occasio calvata.

I lament the wounds that Fortune deals with tear-filled eyes for returning to the attack she takes her gifts from me. Is it true as they say, the well-thatched pate may soonest lose its hair? P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text


In Fortune solio sederam elatus, prosperitatis vario flore coronatus; quicquid enim florui felix et beatus, nunc a summo corrui gloria privatus.

Once on Fortune’s throne I sat exalted crowned with a wreath of Prosperity’s flowers. But from my happy flower-decked paradise I was struck down and stripped of all my glory.

Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice — caveat ruinam! nam sub axe legimus Hecubam reginam.

The wheel of Fortune turns, dishonored I fall from grace and another is raised on high. Raised to dizzy heights of power, The King sits in majesty but let him beware his downfall! For beneath the axle of Fortune’s wheel behold Queen Hecuba.


Primo Vere (“Springtime”) 3. Small Chorus Veris leta facies mundo propinatur hiemalis acies victa iam fugatur, in vestitu vario Flora principatur, nemorum dulcisono qui cantu celebratur.

The joyous face of Spring is presented to the world. Winter’s army is conquered and put to flight. In colorful dress Flora is arrayed and the woods are sweet with birdsong in her praise.

Flore fusus gremio Phebus novo more risum dat, hac vario iam stipate flore. Zephyrus nectareo spirans in odore; certatim pro bravio curramus in amore.

Reclining in Flora’s lap Phoebus again laughs merrily, covered with many colored flowers. Zephyr breathes around the scented fragrance; eagerly striving for the prize. Let us compete in love.

Cytharizat cantico dulcis Philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena.

Trilling her song sweet Philomel is heard and smiling with flowers the peaceful meadows lie, a flock of wild birds rises from the woods; the chorus of maidens brings a thousand joys.


Carmina Burana — Sung Text

The Cleveland Orchestra

4. Baritone Solo Omnia Sol temperat purus et subtilis. novo mundo reserat faciem Aprilis, ad Amorem properat animus herilis, et iocundis imperat deus puerilis.

All things are tempered by the Sun so pure and fine. In a new world are revealed the beauties of April, to thoughts of love the mind of man is turned and in pleasure’s haunts the youthful God holds sway.

Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere, vias prebet solitas, et in tuo vere fides est in probitas tuum retinere.

Nature’s great renewal in solemn Spring and Spring’s example bid us rejoice; they charge us keep to well-worn paths, and in your Springtime there is virtue and honesty in being constant to your lover.

Ama me fideliter! Fidem meam nota, de corde totaliter et ex mente tota sum presentialiter absens in remota, quisquis amat taliter volvitur in rota.

Love me truly! Remember my constancy. With all my heart and all my mind I am with you even when far away. Whoever knows such love knows the torture of the wheel.

5. Chorus Ecce gratum et optatum Ver reducit gaudia, purpuratum floret pratum, Sol serenat omnia.

Behold the welcome and long-awaited Spring, which brings back pleasure; crimson flowers adorn the fields, The Sun brings peace to all around.

Iamiam cedant tristia! Estas redit, nunc recedit Hyemis sevitia.

Away with sadness! Summer returns, and now departs cruel winter.

Iam liquescit et decrescit grando, nix, etcetera; bruma fugit et iam sugit ver estatis ubera;

Melt away and disappear hail, ice, and snow. The mists flee and Spring is fed at Summer’s breast. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text



Illi mens et misera, qui nec vivit, nec lascivit sub Estatis dextera.

Wretched is the man who neither lives nor lusts under Summer’s spell.

Gloriantur et letantur in melle dulcedinis, qui conantur, ut utantur premio Cupidinis;

They taste delight and rejoice in honeyed sweetness, those who strive for, and gain, Cupid’s reward.

Simus jussu Cypridis gloriantes et letantes pares esse Paridis.

Let us submit to Venus’s rule, in delight and joy be equal to Paris.

Carmina Burana — Sung Text

The Cleveland Orchestra

Uf dem Anger (“On the Lawn”) 6. Orchestra: Dance 7. Chorus Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit?

The noble forest is decked with flowers and leaves. Where is my old lover? He rode away on his horse. Alas, who will love me now?

Floret silva undique, nah mime gesellen ist mir wê. Gruonet der walt allenthalben, wâ ist min geselle alse lange? Der ist geriten hinnen, o wî, wer sol mich minnen?

The forest all around is in flower. I long for my lover. The woods have turned green all over, why is my lover away so long? He rode away on his horse. Alas, who will love me now?

8. Soli (Sopranos) and Chorus Chramer, gip die varwe mir, die min wengel roete, da mit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! Lat mich iu gevallen!

Shopkeeper, give me colored paint to paint my cheeks so crimson red, that I may make these young men love me, whether they want to or not. Look at me, you young men! Am I not well pleasing?

Minnet, tugentliche man, minnecliche frouwen! minne tuot iu hoch gemuot unde lat iuch in hohen eren schouwen. Seht mich an . . .

Love, all you right-thinking men, women worthy to be loved! Love shall raise your spirits high and put a spring into your step. Look at me . . .

Wol dir, Werlt, daz du bist also freudenriche! Ich wil dir sin undertan durch din liebe immer sicherliche. Seht mich an . . .

Hail to thee, o world that are in joy so rich and plenteous! I will ever be in thy debt surely for thy goodness’ sake! Look at me . . .

9. Orchestra — Chorus: Reie (“Round Dance”) Swaz hie gat umbe, daz sint alles megede, die wellent ân man alle disen sumer gan!

They who here go dancing round are young maidens all who will go without a man this whole summer long. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text


Chume, chum, geselle min, ih enbite harte din, chume, chum, geselle min.

Come, come, dear heart of mine, I have waited long for you! Come, come, dear heart of mine!

Suzer rosenvarwer munt, chum unde mache mich gesunt, suzer rosenvarwer munt.

Sweetest rosy-colored mouth, come and make me well again! sweetest rosy-colored mouth.

Swaz hie gat umbe, daz sint alles megede, die wellent ân man alle disen sumer gan!

They who here go dancing round are young maidens all who will go without a man this whole summer long.

10. Chorus Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz diu chünegin von Engellant lege an minen armen

If the whole world were mine from the sea right to the Rhine, gladly I’d pass it by if the Queen of England in my arms did lie.

Kulas Series Keyboard Conversations® Kulas Series of of Keyboard Conversations® with Siegel withJeffrey Jeffrey Siegel

Season 2011-2012 25th 24th Anniversary Season 2012-2013 Presented by Cleveland State University’s Center for Arts and Innovation

Presented by Cleveland State University’s Center for Arts and Innovation

Masterly Masterly

Sunday, Sunday,October 2,2,2011 October Sunday, October 2, 2011 2011 Sunday, October 14, 2012 AA Beethoven Beethoven Bonanza! Bonanza!The Themany many A Beethoven Bonanza! The many

ASpellbinding Beethoven Bonanza! The many Bach B moods moods ofofgenius! genius! moods moods of of genius! genius! Sunday, November 11, 2012 Enthralling Enthralling Free Family Concert! B Sunday, Sunday, November 20,Young 2011 2011 MusicNovember for the Young 20, and at Heart Charming presented in honor of Mr. Siegel’s 25th Charming The The Romantic Romantic Music Music of of Franz Franz Liszt Liszt The Romantic Music State of Franz Liszt anniversary at Cleveland University B Sunday, January 27, 2013 Scintillating Scintillating Sunday, Sunday,March March4,4,2012 2012

“An afternoon of entertaining talk and “An afternoon of entertaining talk and exhilarating music.” exhilarating music.” –The Washington Post - The Washington Post

Claude Debussy: Clair de lune, a Rochmaninoff Rochmaninoff andTchaikovsky Tchaikovsky Fireworks andand Beyond!

Sunday, March 24, 2013 March 6, 2012 2012 y 6, Age Sunday, Sunday, March 2012 Schubert in the6, of the Sound Bite

A musical love triangle: Robert, Clara and andJohannes! Johannes! Bach and the Romantics

AA musical musical love lovetriangle: triangle: Robert, Robert,Clara Clara Sunday, April 28, 2013 and Johannes!

All concerts beginbegin at 3:00 pmpm at at All concerts at 3:00 Cleveland State University’s Waetjen Cleveland State University’s Waetjen Auditorium, Euclid 21stSt. St. Auditorium, EuclidAve. Ave.and and E. E. 21st ForFor more information more information call call 216.687.5018 216.687.5018 ororvisit series/kc series/kc


Carmina Burana — Sung Text

The Cleveland Orchestra


In Taberna (“In the Tavern”) 11. Baritone Estuans interius ira vehementi in amaritudine loquor mee menti: factus de materia, cinis elementi similis sum folio, de quo ludunt venti.

Seething inside with boiling rage in bitterness I talk to myself. Made of matter risen from dust I am like a leaf tossed in play by the winds.

Cum sit enim proprium viro sapienti supra petram ponere sedem fundamenti, stultus ego comparor fluvio labenti, sub eodem tramite nunquam permanenti.

But whereas it befits a wise man to build his house on a rock, I, poor fool, am like a meandering river, never keeping to the same path.

Feror ego veluti sine nauta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenent clavis, quero mihi similes, et adiungor pravis.

I drift along like a pilotless ship or like an aimless bird carried at random through the air; no chains hold me captive, no lock holds me fast, I am looking for those like me and I join the depraved.

Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis.

The burdens of the heart seem to weigh me down; jesting is pleasant and sweeter than the honeycomb. Whatever Venus commands is pleasant toil; she never dwells in craven hearts.

Via lata gradior more iuventutis, implicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis.

On the broad path I wend my way as is youth’s wont. I am caught up in vice and forgetful of virtue. caring more for voluptuous pleasure than for my health, dead in spirit, I think only of my skin. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text


12. Tenor and Male Chorus Olim lacus colueram, olim pulcher extiteram, dum cignus ego fueram. Miser, miser! Modo niger et ustus fortiter!

Once in lakes I made my home, once I dwelt in beauty, that was when I was a swan. Alas, poor me! Now I am black and roasted to a turn!

Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer. Miser, miser . . .

On the spit I turn and turn; the fire roasts me through, now I am presented at the feast. Alas, poor me . . .

Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video: Miser, miser . . .

Now in a serving dish I lie and can no longer fly, gnashing teeth confront me. Alas, poor me . . .

13. Baritone and Male Chorus Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii volunta mea’st et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: Wafna! Wafna! Quid fecisti sors turpissima? Nostre vite gaudia abstulisti omnia!

I am the abbot of Cockaigne and I like to drink with my friends, and I choose to be of the sect Decius, and whoever meets me in the morning at the tavern by evening has lost his clothes, and thus stripped of his clothes cries out: Wafna! Wafna! What have you done, wicked Fate!? You have taken away all the pleasures of this life!

14. Male Chorus In taberna quando sumus, non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, sic quid loquar, audiatur.

When we are in the tavern we spare no thought for the grave, but rush to the gaming tables where we always sweat and strain. What goes on in the tavern, where a coin gets you a drink, if this is what you would know then listen to what I have to say.

Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur.

Some men gamble, some men drink, some indulge in indiscretions, but of those who stay to gamble some lose their clothes, some win new clothes, while others put on sack clothes.


Carmina Burana — Sung Text

The Cleveland Orchestra

Ibi nullus timet mortem, sed pro Baccho mittunt sortem.

There is no one afraid of death, throwing dice for Bacchus.

Primo pro nummata vini, ex hac bibunt libertini; semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis.

First, the dice are thrown for wine: this the libertines drink. Once they drink to prisoners, then three times to the living, four times to all Christians, five to the faithful departed, six times to the dissolute sisters, seven to the bush-rangers.

Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, undecies pro discordantibus, duodecies pro penitentibus tredecies pro iter agentibus. Tam pro papa quam pro rege bibunt omnes sine lege.

Eight times to delinquent brothers, nine to the dispersed monks, ten times to the navigators, eleven to those who are fighting, twelve to the penitent, thirteen to the travelers. They drink to the Pope and King alike, all drink without restraint.

Bibit hera, bibit herus, bibit miles, bibit clerus, bibit ille, bibit illa, bibit servus cum ancilla, bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magus.

The mistress drinks, the master drinks, the soldier drinks, the clergyman drinks, this man drinks, this woman drinks, the manservant drinks with the serving maid, the quick man drinks, the sluggard drinks, the white man drinks, the black man drinks, the steady man drinks, the wanderer drinks, the simpleton drinks, the wise man drinks.

Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille.

The poor man drinks, the sick man drinks, the exile drinks and the unknown man drinks, the boy drinks, the old man drinks, the Bishop drinks, the Deacon drinks, sister drinks and brother drinks, the old crone drinks, the mother drinks, this one drinks, that one drinks, a hundred drink, a thousand drink.

Parum sexcente nummate durant cum immoderate bibunt omnes sine meta quamvis bibant mente leta; sic nos rodunt omnes gentes, et sic erimus egentes. Quis nos rodunt confudantur et cum iustis non scribantur.

Six hundred coins are not enough for this immoderate and aimless drinking, although they drink cheerfully. Many people censure us and we shall always be short of money. May our critics be confounded and never be numbered among the just. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text


It Ain’t Over Till... Götterdämmerung on May 11th. Between now and then, listen to LIVE Metropolitan Opera broadcasts on WCLV 104.9 ideastream each Saturday afternoon (check for start times). You’ll be there from the moment the orchestra tunes until the curtain falls, and it won’t cost you a penny. Did you just yell “BRAVO”?

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Cour d’Amours (“The Court of Love”) 15. Boys and Soprano Amor volat undique; captus est libidine. Juvenes, iuvencule coniunguntur merito. Siqua sine socio, caret omni gaudio; tenet noctis infima sub intimo cordis in custodia: Fit res amarissima.

Love flies everywhere and is seized by desire, young men and women are matched together. If a girl lacks a partner, he misses all the fun; in the depths of her heart all alone is darkest night — It is a bitter fate.

16. Baritone Dies, nox et omnia michi sunt contraria, virginum colloquia me fay planszer oy suvenz suspirer, plu me fay temer.

Day, night, and all the world are against me, the sound of maidens’ voices makes me weep. I often hear sighing and it makes me more afraid.

O sodales, ludite, vos qui scitis dicite, michi mesto parcite, grand ey dolur, attamen consulite per voster honur.

O friends, be merry, say what you will, but have mercy on me, a sad man, for great is my sorrow, yet give me counsel for the sake of your honor.

Tua pulchra facies, me fay planszer milies, pectus habet glacies, a remender statim vivus fierem per un baser.

Your lovely face makes me weep a thousand tears because your heart is of ice, but I would be restored at once to life by one single kiss.

17. Soprano Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia.

There stood a young girl in a red tunic; if anyone touched her the tunic rustled. Heigh-ho.

Stetit puella tamquam rosula; facie splenduit, os eius floruit. Eia.

There stood a girl fair as a rose, her face was radiant, her mouth like a flower. Heigh-ho. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text



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18. Baritone and Chorus Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. Manda liet, manda liet, min geselle chomet niet!

My breast is filled with sighing for your loveliness and I suffer grievously. Manda liet, manda liet, my sweetheart comes not.

Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. Manda liet . . .

Your eyes shine like sunlight, like the splendor of lightning in the night. Manda liet . . .

Vellet deus, vellent dii, quod mente proposui: ut eius virginea reserassem vincula. Manda liet, manda liet, min geselle chomet niet.

May God grant, may the Gods permit the plan I have in mind to undo the bonds of her virginity. Manda liet, manda liet, my sweetheart comes not.

19. Six Solo Men Si puer cum puellula moraretur in cellula, Felix coniunctio. Amore suscrescente, pariter e medio avulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis.

If a boy and a girl are together in a little room, happy is their union; increasing love leaves tedious good sense far behind, and inexpressible pleasure fills their limbs, their arms, their lips.

20. Double Chorus Veni, veni, venias, ne me mori facias, hyrca, hyrca, nazaza, trillirivos!

Come, come pray come, do not let me die, hyrca, hyrca, nazaza, trillirivos!

Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species!

Lovely is your face, the glance of your eyes, the braids of your hair, oh how beautiful you are!

Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior!

Redder than the rose, whiter than the lily, comelier than all the rest; always I shall glory in you. P L E A S E T U R N PA G E Q U I E T LY

Severance Hall 2012-13

Carmina Burana — Sung Text


21. Soprano In the scales of my wavering indecision physical love and chastity are weighed. But I choose what I see. I bow my head in submission and take on the yoke which is after all sweet.

In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo.

22. Baritone, Soprano, Boys, and Chorus Tempus es iocundum, o virgines, modo congaudete vos iuvenes. Oh – oh – oh, totus floreo! Iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Pleasant is the season O maidens, now rejoice together young men. Oh, oh, I blossom now with pure love I am on fire! New, new love is what I perish for.

Mea me confortat promissio, mea me deportat negatio. Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Complying soothes me, refusing casts me down. Oh, oh, I blossom now with pure love I am on fire! New, new love is what I die for.

Tempore brumali vir patiens, animo vernali lasciviens. Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

In Wintertime the man is lazy in Spring he will become merry. Oh, oh, I blossom now with pure love I am on fire! New, new love is what I am perishing for.

Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

My chastity teases me but my innocence holds me back. Oh, oh, I blossom now with pure love I am on fire! New, new love is what I am dying for.

Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo. Oh – oh – oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo.

Come my darling, come with joy, come my beauty, for already I die! Oh, oh, I blossom now with pure love I am on fire! New, new love is what I perish for.

23. Soprano Dulcissime, totam tibi subdo me!


Sweetest boy, I give my all to you!

Carmina Burana — Sung Text

The Cleveland Orchestra

Blanziflor and Helena 24. Chorus Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar ave mundi rosa, Blanziflor et Helena, Venus generosa.

Hail to thee most loved, most precious jewel, hail pride of virgins! Most glorious virgin! Hail light of the world! Hail rose of the world! Blanziflor and Helena! Noble Venus, Hail.


Fortuna Imperatrix Mundi (“Fortune, Empress of the World�) 25. Chorus O Fortuna, velut Luna statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem.

O Fortune! Like the moon ever-changing rising first then declining; hateful life treats us badly then with kindness making sport with our desires, causing power and poverty alike to melt like ice.

Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris.

Dread Destiny and empty fate, an ever-turning wheel, you make adversity and fickle health alike turn to nothing, in the dark and secretly you work against me; through your trickery my naked back is turned to you unarmed.

Sors salutis et virtutis michi nunc contraria est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite!

Good fortune and strength now are turned from me. Affection and defeat are always on duty, come now, pluck the strings without delay; since fate strikes down the strong weep everyone with me.

Severance Hall 2012-13

Carmina Burana — Sung Text


James Feddeck

Assistant Conductor Elizabeth Ring and William Gwinn Mather Endowed Chair The Cleveland Orchestra

James Feddeck is in his fourth year as assistant conductor of The Cleveland Orchestra and music director of the Cleveland Orchestra Youth Orchestra. In June 2012, he led the Youth Orchestra on its first international tour, with performances in the Czech Republic and Austria. He made his Cleveland Orchestra debut in August 2009. Mr. Feddeck assists Franz Welser-Möst in the preparation of Cleveland Orchestra performances, opera productions, recording projects, and tours. In March 2011, he replaced Welser-Möst at the last minute in the Zurich Opera production of Mozart’s Don Giovanni performed at Severance Hall. He has led a number of new community initiatives, including Cleveland Orchestra collaborative performances with the Cleveland Museum of Art and Cleveland Play House; he leads “California Masterworks” performances at the Cleveland Museum of Art on May 1 and 3. In the United States, Mr. Feddeck has guest conducted the orchestras of Atlanta, Charleston, Charlotte, Grand Rapids, Memphis, Omaha, St. Louis, San Diego, and Toledo as well as performances with the Kennedy Center Opera Orchestra (Ballet Across America Festival) and Aspen Music Festival. In April 2010, he made his European debut with the Tonhalle-Orchester Zürich. He made his Canadian debut in February 2013 with the Orchestre Symphonique de Québec. Before his appointment in Cleveland, Mr. Feddeck was assistant conductor of the Memphis Symphony Orchestra for two seasons. He was a conducting fellow for three summers at the Aspen Music Festival, as a protégé of David Zinman, where he received the Robert J. Harth Conductor Prize and the Aspen Conducting Prize and later served as assistant conductor. He was the unanimous winner of the Sixth Vakhtang Jordania International Conducting Competition as the youngest participant (at age twenty-two). The Georg Solti Foundation U.S. awarded him a Career Assistance Grant, a new prize for young conductors in the United States. An accomplished organist, James Feddeck has performed recitals throughout North America and Europe and has been featured on the North American radio program Pipedreams. As an oboist, he has a special interest in new music and has commissioned works including Daniel Pinkham’s Oboe Quartet. Mr. Feddeck’s musical training is unusually diverse. He was admitted to the Oberlin Conservatory of Music in four areas: piano, oboe, organ, and conducting. At Oberlin, he led his first operatic production, of Mozart’s Così fan tutte. In September 2010, Oberlin College awarded him its first Outstanding Young Alumni Award for professional achievement and contributions to society, the college’s highest distinction to alumni of his generation.



The Cleveland Orchestra

Robert Walters

Solo English Horn Samuel C. and Bernette K. Jaffe Endowed Chair The Cleveland Orchestra


Robert Walters joined The Cleveland Orchestra as solo english horn at the beginning of the 2004-05 season. He made his debut as a soloist with the Orchestra in Ned Rorem’s English Horn Concerto in December 2006, and most recently performed Peteris Vasks’s English Horn Concerto in 2011. Mr. Walters has also appeared as guest soloist with the Chicago Symphony Orchestra, Cincinnati Symphony Orchestra, Orpheus Chamber Orchestra, Beijing Radio Symphony, Qingdau Symphony Orchestra, New York Chamber Soloists, Philadelphia Chamber Orchestra, Phoenix Symphony, and the Curtis Symphony Orchestra. In June 2013, he performs Bach’s Concerto in A major, BWV1055, for oboe d’amore on the opening concert of the International Double Reed Society Conference in Redlands, California. Prior to coming to Cleveland, Mr. Walters was the solo english horn player of the Metropolitan Opera Orchestra (2000-04), and with the Cincinnati Symphony Orchestra (1997-2000). He performed and recorded with the Philadelphia Orchestra from 1990 to 1996 and was active as a freelance musician in New York City, performing with the Orchestra of St. Luke’s, Orpheus Chamber Orchestra, American Ballet Theatre, American Symphony Orchestra, Brooklyn Philharmonic, and the Chamber Music Society of Lincoln Center. He was also a frequent performer with James Levine and the MET Chamber Ensemble at Carnegie Hall. Robert Walters spent five summers at the Marlboro Music Festival and has toured as a member of Musicians from Marlboro. He has appeared at the Banff, St. Bart’s, Bard, Caramoor, Grand Teton, and Spoleto festivals. He has served as an artist faculty member of the Aspen Music Festival and School and with the Colorado College Summer Music Festival. A native of Los Angeles and raised in Nebraska, Mr. Walters is a graduate of the Curtis Institute of Music and holds a master of fine arts degree in poetry from Columbia University. He studied with Richard Woodhams (principal oboe of the Philadelphia Orchestra) and the late John Mack (former principal oboe of The Cleveland Orchestra). A fourth-generation college music professor, Robert Walters has taught at the Oberlin Conservatory of Music since 2006, and was appointed professor of oboe and english horn in 2010. Mr. Walters lives in Shaker Heights with his wife, jewelry designer Grace Chin, and their two daughters, Saya and Kira.

Severance Hall 2012-13



Rebecca Nelsen American soprano Rebecca Nelsen earned a degree in vocal performance at Texas Tech University, and in 2003 won a Fulbright Scholarship to study at the University of Music and Performing Arts in Vienna, Austria. She has lived and performed in Europe since that time, and has received prizes in a number of international competitions. Ms. Nelsen spent two years as an ensemble member of the Staatsoper Braunschweig, and made her European debut in Casken’s God’s Liar at the 2004 Vienna Klangbogen Festival. She has also performed at the Bavarian State Opera, Neue Oper Wien, Oper Köln, Dresden’s Semperoper, Teatro La Fenice, and Vienna’s Volksoper. She has sung at the Munich Biennale and Munich Opera Festival, Japan’s Kawasaki and Biwako Halls, and Vienna’s Schloss Laudon Chamber Music Festival and in celebrations of Mozart’s 250th birthday. In 2010, Rebecca Nelsen made her United States debut with the Pittsburgh Symphony Orchestra; she is making her Cleveland Orchestra debut with this weekend’s concerts. Her discography includes albums on the CPO, Gramola, Oehms Classics, and ORF labels. For more information, visit

Nicholas Phan American tenor Nicholas Phan has appeared with major American orchestras, as well as with the BBC Symphony, English Chamber Orchestra, Lucerne Symphony, and Les Violons du Roy. He is making his Cleveland Orchestra debut with this weekend’s performances. In opera, Mr. Phan has performed with the Atlanta Opera, Deutsche Oper am Rhein, Frankfurt Opera, Glyndebourne Opera, Houston Grand Opera, Opéra de Lille, Portland Opera, and Seattle Opera. He has sung recitals in Chicago, New York, Philadelphia, and Oberlin; as a chamber musician, he has collaborated with Jeremy Denk, Richard Goode, Cecile Licad, and Mitsuko Uchida. Mr. Phan is artistic director of the Collaborative Arts Institute of Chicago, which promotes the teaching, performance, and development of vocal chamber music repertoire. His discography includes a Grammy-nominated recording of Stravinsky’s Pulcinella, Vivaldi’s L’Olimpiade, and two solo albums. Nicholas Phan graduated from the University of Michigan and also studied at the Aspen Music Festival and School, Glimmerglass Opera Young American Artists Program, Houston Grand Opera Studio, and the Manhattan School of Music. For more information, visit


Guest Artists

The Cleveland Orchestra

Stephen Powell American baritone Stephen Powell performs a range of music, from Monteverdi and Handel through Verdi and Puccini to Sondheim and John Adams. He makes his Cleveland Orchestra debut with this weekend’s concerts. Mr. Powell is an alumnus of the Lyric Opera of Chicago Center for American Artists and spent three seasons with Glimmerglass Opera. His professional career was launched at New York City Opera in 1995, when he substituted in the title role of Hindemith’s Mathis der Maler. Since then, he has sung on many opera stages, including Arizona Opera, Cleveland Opera, Florentine Opera, New York’s Metropolitan Opera, and L’Opéra de Montréal. Stephen Powell has also performed with many orchestras across North America, with Music of the Baroque and Les Violons du Roy, and with the Dutch Radio Orchestra, Leipzig’s MDR Sinfonieorchester, Singapore Symphony Orchestra, Sydney Symphony Orchestra, and Zurich’s Tonhalle Orchestra, as well as at the Boulder, Brevard, Cincinnati, and Vail festivals. In recital, Mr. Powell performs frequently with his wife, soprano Barbara Shirvis. They also teach masterclasses together throughout the country. For more information, visit

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May 11 • A fresh new play reading that asks what price we pay to know the truth


April 19 – May 19    A clever new comedy about women and their relationships with Men, Mothers and Money.

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Guest Artists


Robert Porco

Director of Choruses Frances P. and Chester C. Bolton Endowed Chair The Cleveland Orchestra

Robert Porco is in his fifteenth year as director of choruses for The Cleveland Orchestra. In addition to overseeing choral activities and preparing the Cleveland Orchestra Chorus and the Blossom Festival Chorus for a variety of concert programs each season, Mr. Porco conducts the Orchestra’s annual series of Christmas concerts at Severance Hall and regularly conducts subscription concert programs both at Severance Hall and Blossom. He has also served as director of choruses for the Cincinnati May Festival since 1989. In 2011, Mr. Porco was honored by Chorus America with its annual Michael Korn Founders Award for a lifetime of significant contributions to the professional choral art. The Ohio native served as chairman of the choral department at Indiana University 1980-98, and in recent years has taught doctoral-level conducting at the school. As teacher and mentor, Mr. Porco has guided and influenced the development of hundreds of musicians, many of whom are now active as professional conductors, singers, or teachers. As a sought-after guest instructor and coach, his teaching work has included programs at Harvard University, Westminster Choir College, and the University of Miami Frost School of Music.

Lisa Wong

Assistant Director of Choruses

Lisa Wong became assistant director of choruses for The Cleveland Orchestra with the 2010-11 season. In this capacity, she assists in preparing the Cleveland Orchestra Chorus and Blossom Festival Chorus for performances each year. With the 2012-13 season, she has taken on the added position of director of the Cleveland Orchestra Youth Chorus. In addition to her duties at Severance Hall, Ms. Wong is a faculty member at the College of Wooster, where she conducts the Wooster Chorus and the Wooster Singers and teaches courses in conducting and music education. She previously taught in public and private schools in New York, Pennsylvania, and Indiana. Active as a clinician, guest conductor, and adjudicator, Ms. Wong holds a bachelor’s degree in music education from West Chester University and master’s and doctoral degrees in choral conducting from Indiana University.

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Cleveland Orchestra Chorus

The Cleveland Orchestra

Cleveland Orchestra Chorus Robert Porco, Director

60 TH


Lisa Wong, Assistant Director Joela Jones, Principal Accompanist

Celebrating its 60th anniversary throughout the 2012-13 season, the Cleveland Orchestra Chorus is one of the few professionally-trained, all-volunteer choruses sponsored by a major American orchestra. Founded at the request of George Szell in 1952 and following in the footsteps of a number of earlier community choruses, the Cleveland Orchestra Chorus has sung in hundreds of performances at home, at Carnegie Hall, and on tour, as well as in more than a dozen recordings. Its members hail from nearly fifty Cleveland-area communities and together contribute over 15,000 volunteer hours to the Orchestra’s music-making each year. ORFF CARMINA BURANA SOPRANOS




Amy F. Babinski Cathleen R. Bohn Emily Bzdafka Mary Jane Carlin Susan Cucuzza Carrie Culver Lisa Rubin Falkenberg Rosie Gellott Danielle Greenway Debbie Gutowski Rebecca S. Hall Lisa Hrusovsky Shannon R. Jakubczak Sarah Jones Hope Klassen-Kay Kate Macy Lisa Manning Julie Myers-Pruchenski Noreen Norka Jennifer Heinert O’Leary Sarah Osburn Melissa Patton Lenore M. Pershing Joy Powell Roberta Privette Cassandra E. Rondinella Jennifer R. Sauer Monica Schie Miranda Scholl Sharon Shaffer Samantha J. Smith Sidney Storry Jane Timmons-Mitchell Sarah Tobias Melissa Vandergriff Sharilee Walker Carole Weinhardt Marilyn Wilson Mary Wilson Constance Wolfe

Alexandria Albainy Emily Austin Beth Bailey Katherine Brown Julie A. Cajigas Lydia Chamberlin Barbara J. Clugh Carolyn Dessin Marilyn Eppich Amanda Evans Nancy Gage Diana Weber Gardner Ann Marie Hardulak Betty Huber Karen Hunt Jenna Kirk Lucia Leszczuk Diana Martin Ginger Mateer Danielle S. McDonald Karla McMullen Shanely Rae Niemi Peggy Norman Marta Perez-Stable Cindy Pitera Ginny Roedig Becky A. Seredick Peggy Shumate Shari Singer Shelley Sobey Ina Stanek-Michaelis Martha Cochran Truby Sarah B. Turell Laure Wasserbauer Meredith S. Whitney Flo Worth Debra Yasinow

Eric H. Berko Gerry C. Burdick Brent Chamberlin Thomas Ginsburg Thomas Glynn Daniel M. Katz Peter Kvidera Tod Lawrence Steve Lawson Rohan Mandelia James Newby Tremaine Oatman Robert Poorman Matthew Rizer John Sabol Lee Scantlebury James Storry Charles Tobias William Venable Chester F. Willey

Craig Astler Jack Blazey Nikola Budimir Charles Carr Peter B. Clausen Dwyer Conklyn Steve diLauro Jeffrey Duber Matthew Englehart Thomas E. Evans Richard Falkenberg Robert Higgins Kurtis B. Hoffman Paul Hubbard Thomas Hull Joshua Jones Joel Kincannon Jason Levy Scott Markov Tyler Mason Shaun McGrath Roger Mennell Robert Mitchell Tom Moormann Keith Norman John Riehl Corey Rubin Robert Seaman Michael Seredick Steven Skaggs Matt Turell David A. Welshhans S. David Worhatch Paul Zeit

Severance Hall 2012-13

Carolyn Dessin, Chair, Cleveland Orchestra Chorus Operating Committee

Jill Harbaugh, Manager of Choruses Rachel Novak, Assistant to the Manager of Choruses

Cleveland Orchestra Chorus

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The Cleveland Orchestra

Cleveland Orchestra Children’s Chorus Ann Usher, Director

Suzanne Walters, Assistant Director Dianna White-Gould, Accompanist Created in 1967, the Cleveland Orchestra Children’s Chorus is an ensemble of children in grades 6-9 who perform annually with The Cleveland Orchestra. A Preparatory Chorus, comprised of children in grades 5-8, performs twice each year with the Children’s Chorus. The members of the Children’s Chorus and of the Children’s Preparatory Chorus rehearse weekly during the school year and are selected by audition with the director (held annually in May and June). A number of Children’s Chorus graduates have continued their association as members of the Youth Chorus or Youth Orchestra or have become adult members of the Cleveland Orchestra Chorus. ORFF CARMINA BURANA Emily Beal Luke Benko David Bowler Ryan Burdick Claire Chaikin Hannah Cogar Maksim Damljanovic Kendall Duncan Jasmine Feng Joseph Feng Matthew Fleshman Joe Foti Tori Groves J.R. Heckman Hannah Jencson

Amelia Johnson Hanna Langenderfer Victoria MacGregor David Malkin Annamarie Martin C. Elizabeth Martin Reilly McGovern Aishwarya Menon Eunice Min Kristina Mullen Lisa Nazelli Hayden O. Neidhardt Nathan Niedzwiecki Claire Peyrebrune Rosalie Phillips

Rose E. Price Megan Qiang Arjun Ramachandran Lili Roosa Drew Russell Julia Sabik Nicholas Snider Natalie Thomas Kayla Thompson Joey Thornton Lauren Venesile Maddy Wanke Beatrice Woodside Hannah Woodside Alex Wuertz

Ann Usher

Director, Cleveland Orchestra Children’s Choruses

Ann Usher has served as director of the Cleveland Orchestra Children’s Choruses since 2000. She prepares the Children’s Chorus for their appearances as part of the annual Christmas concerts, community concerts, and in the Orchestra’s performances of operas and symphonic works that call for children’s voices. Ms. Usher is a professor of music at the University of Akron, where she conducts the University Singers and teaches graduate and undergraduate choral music education. She was recently appointed director of the University’s School of Music and is serving as interim director of the School of Dance, Theater, and Arts Administration. She previously taught choral music in the public schools, specializing in the middle school level. Ann Usher holds a bachelor of music education degree from the University of Northern Iowa, and a master of music degree in choral conducting and a doctorate in music education from Kent State University.

Severance Hall 2012-13

Cleveland Orchestra Children’s Chorus

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The Cleveland Orchestra


Corporate Support The Cleveland Orchestra gratefully acknowledges and salutes these corporations for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support


The Partners in Excellence program salutes companies with annual contributions of $100,000 and more, exemplifying leadership and commitment to artistic excellence at the highest level.




BakerHostetler Bank of America Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. The Goodyear Tire & Rubber Company The Lubrizol Corporation / The Lubrizol Foundation Merrill Lynch NACCO Industries, Inc. Parker Hannifin Corporation The Plain Dealer PNC PolyOne Corporation Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company

gifts of $2,500 or more during the past year, as of February 25, 2013

KeyBank The Lubrizol Corporation NACCO Industries, Inc. Raiffeisenlandesbank Oberösterreich (Europe) The J. M. Smucker Company PARTNERS IN EXCELLENCE $200,000 TO $299,999

BakerHostetler Eaton Corporation FirstEnergy Foundation Forest City Enterprises, Inc. PNC PARTNERS IN EXCELLENCE $100,000 TO $199,999

The Cliffs Foundation Google, Inc. Medical Mutual of Ohio Parker Hannifin Corporation $50,000 TO $99,999

The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of February 2013.

Exile LLC Jones Day Quality Electrodynamics (QED) Anonymous $25,000 TO $49,999 Bank of America Dix & Eaton The Giant Eagle Foundation Northern Trust Bank of Florida (Miami) Park-Ohio Holdings Corp. The Plain Dealer RPM International Inc. Squire, Sanders & Dempsey (US) LLP Thompson Hine LLP

$2,500 TO $24,999 AdCom Communications Akron Tool & Die Company AkronLife Magazine American Fireworks, Inc. American Greetings Corporation BDI Brouse McDowell Eileen M. Burkhart & Co LLC

Severance Hall 2012-13

Corporate Annual Support

Buyers Products Company Cedar Brook Financial Partners, LLC The Cleveland Wire Cloth & Mfg. Co. Community Behavioral Health Center Conn-Selmer, Inc. Consolidated Graphics Group, Inc. Dealer Tire LLC Dollar Bank Dominion Foundation Ernst & Young LLP Evarts-Tremaine-Flicker Company Feldman Gale, P.A. (Miami) Ferro Corporation FirstMerit Bank Frantz Ward LLP Viktor Kendall, Friends of WLRN Gallagher Benefit Services Great Lakes Brewing Company Gross Builders Hahn Loeser + Parks LLP Houck Anderson P.A. (Miami) Hunton & Williams, LLP (Miami) Hyland Software The Lincoln Electric Foundation Littler Mendelson, P.C. C. A. Litzler Co., Inc. Live Publishing Company Macy’s Materion Corporation Miba AG (Europe) MTD Products, Inc. Nordson Corporation North Coast Container Corp. Northern Haserot Oatey Co. Ohio CAT Ohio Savings Bank, A Division of New York Community Bank Olympic Steel, Inc. Oswald Companies PolyOne Corporation The Prince & Izant Company Richey Industries, Inc. Satch Logistics LLC SEMAG Holding GmbH (Europe) The Sherwin-Williams Company Stern Advertising Agency Swagelok Company TriMark S.S. Kemp Trionix Research Laboratory, Inc. Tucker Ellis Ulmer & Berne LLP United Automobile Insurance Company (Miami) Ver Ploeg & Lumpkin, P.A. (Miami) Ricky & Sarit Warman — Papa John’s Pizza (Miami) WCLV Foundation Westlake Reed Leskosky The Avedis Zildjian Company Anonymous (3)









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CLEVELAND INSTITUTE OF MUSIC 11021 East Boulevard Cleveland, OH 44106 | 216.791.5000 |

Creativity, Passion, Accountability, and Integrity are our guiding principles.

Providing Controllership, CFO, Transaction Management, and Traditional Accounting Services to enterpreneurs and not-for-profit organizations. Contact Jonathan Green • 216.593.0900 ext. 109 •

We believe in working for the greater good of all and we are proud to support any organization that shares this value. We thank The Cleveland Orchestra for its commitment to excellence! Ken Lanci, Chairman & CEO Consolidated Companies 78 74

The Cleveland Orchestra


Foundation & Government Support The Cleveland Orchestra gratefully acknowledges and salutes these Foundations and Government agencies for their generous support toward the Orchestra’s Annual Fund, benefit events, tours and residencies, and special projects.

Cumulative Giving

Annual Support




The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts & Culture Kulas Foundation Maltz Family Foundation State of Ohio Ohio Arts Council The Kelvin and Eleanor Smith Foundation $5 MILLION TO $10 MILLION

gifts of $2,000 or more during the past year, as of February 25, 2013

The Cleveland Foundation Cuyahoga County residents through Cuyahoga Arts and Culture The George Gund Foundation The Andrew W. Mellon Foundation David and Inez Myers Foundation The Kelvin and Eleanor Smith Foundation $250,000 TO $499,000

Kulas Foundation The Miami Foundation, from a fund established by the John S. and James L. Knight Foundation (Miami) John P. Murphy Foundation Ohio Arts Council

The George Gund Foundation The Andrew W. Mellon Foundation John P. Murphy Foundation

$100,000 TO $249,999


$50,000 TO $99,999

GAR Foundation Ann and Gordon Getty Foundation The Louise H. and David S. Ingalls Foundation Martha Holden Jennings Foundation Knight Foundation (Cleveland, Miami) David and Inez Myers Foundation National Endowment for the Arts The Payne Fund The Reinberger Foundation The Sage Cleveland Foundation

Sidney E. Frank Foundation GAR Foundation

The George W. Codrington Charitable Foundation Martha Holden Jennings Foundation Myra Tuteur Kahn Memorial Fund of The Cleveland Foundation John S. and James L. Knight Foundation The Mandel Foundation Elizabeth Ring Mather and William Gwinn Mather Fund National Endowment for the Arts Donald and Alice Noble Foundation, Inc. The Payne Fund The Sage Cleveland Foundation Surdna Foundation $20,000 TO $49,999

$2,000 TO $19,999 The Abington Foundation Ayco Charitable Foundation The Ruth and Elmer Babin Foundation The Batchelor Foundation, Inc. (Miami) The Bernheimer Family Fund of The Cleveland Foundation Bicknell Fund Eva L. and Joseph M. Bruening Foundation The Collacott Foundation Mary and Dr. George L. Demetros Charitable Trust Elisha-Bolton Foundation Fisher-Renkert Foundation The Harry K. Fox and Emma R. Fox Charitable Foundation Funding Arts Network (Miami) The Hankins Foundation The Muna and Basem Hishmeh Foundation Richard H. Holzer Memorial Foundation The Kangesser Foundation The Kridler Family Fund of The Columbus Foundation The Jean Thomas Lambert Foundation The Laub Foundation Victor C. Laughlin, M.D. Memorial Foundation Trust The G. R. Lincoln Family Foundation Miami-Dade County Department of Cultural Affairs (Miami) Paintstone Foundation The Charles E. & Mabel M. Ritchie Memorial Foundation The Leighton A. Rosenthal Family Foundation SCH Foundation Albert G. & Olive H. Schlink Foundation Harold C. Schott Foundation Jean C. Schroeder Foundation Kenneth W. Scott Foundation The Sherwick Fund Lloyd L. and Louise K. Smith Memorial Foundation The South Waite Foundation The Taylor-Winfield Foundation The George Garretson Wade Charitable Trust The S. K. Wellman Foundation The Welty Family Foundation Thomas H. White Foundation, a KeyBank Trust The Edward & Ruth Wilkof Foundation The Wuliger Foundation Anonymous (2)

The Severance Society recognizes generous contributors of $1 million or more in cumulative giving to The Cleveland Orchestra. Listing as of February 2013.

Akron Community Foundation The Helen C. Cole Charitable Trust The Mary S. and David C. Corbin Foundation The Gerhard Foundation, Inc. Ann and Gordon Getty Foundation The Helen Wade Greene Charitable Trust The Margaret Clark Morgan Foundation The Frederick and Julia Nonneman Foundation The Nord Family Foundation William J. and Dorothy K. O’Neill Foundation Peacock Foundation, Inc. (Miami) The Reinberger Foundation The Sisler McFawn Foundation

Severance Hall 2012-13

Foundation/Government Annual Support



Individual Support The Cleveland Orchestra and Musical Arts Association gratefully recognize the individuals listed here, who have provided generous gifts of cash or pledges of $2,500 or more to the Annual Fund, benefit events, tours and residencies, and special annual donations.

Lifetime Giving

Annual Support


gifts during the past year, as of February 25, 2013 INDIVIDUAL GIFTS OF $500,000 AND MORE


Daniel R. and Jan R. Lewis (Miami, Cleveland)

Daniel R. and Jan R. Lewis (Miami) INDIVIDUAL GIFTS OF $200,000 TO $499,999


Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Mrs. Norma Lerner and The Lerner Foundation Mrs. Alfred M. Rankin, Sr. Mr. and Mrs. Albert B. Ratner

Irma and Norman Braman (Miami) Francie and David Horvitz Family Foundation (Miami) The Walter and Jean Kalberer Foundation Mrs. Norma Lerner and The Lerner Foundation Susan Miller (Miami) Ms. Ginger Warner (Cleveland, Miami)


INDIVIDUAL GIFTS OF $100,000 TO $199,999

Irma and Norman Braman (Miami) Mr. Francis J. Callahan Mrs. M. Roger Clapp Mr. George Gund III* Francie and David Horvitz (Miami) Mr. and Mrs. Michael J. Horvitz Mr. James D. Ireland III The Walter and Jean Kalberer Foundation Mr. and Mrs. Joseph P. Keithley Mr. and Mrs. Dennis W. LaBarre Susan Miller (Miami) Sally S. and John C. Morley The Family of D. Z. Norton The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. Charles and Ilana Horowitz Ratner James and Donna Reid Barbara S. Robinson Anonymous (2)

James D. Ireland III Mr. and Mrs. Joseph P. Keithley Dr. and Mrs. Herbert Kloiber (Europe) Peter B. Lewis and Janet Rosel (Miami) Mr.* and Mrs. Herbert McBride Mr. and Mrs. Albert B. Ratner Janet and Richard Yulman (Miami)

The Severance Society recognizes generous contributors of $1 million or more in lifetime giving to The Cleveland Orchestra. As of February 2013.


INDIVIDUAL GIFTS OF $75,000 TO $99,999

Mr. and Mrs. Douglas A. Kern The Honorable and Mrs. John Doyle Ong Mr. and Mrs. Alfred M. Rankin, Jr. INDIVIDUAL GIFTS OF $50,000 TO $74,999

Sheldon and Florence Anderson (Miami) Mr. William P. Blair III Mr. Richard J. Bogomolny and Ms. Patricia M. Kozerefski Mr. and Mrs. Alexander M. Cutler Hector D. Fortun (Miami) Mr. and Mrs. Michael J. Horvitz Elizabeth B. Juliano (Cleveland, Miami) Mr. and Mrs. Dennis W. LaBarre R. Kirk Landon and Pamela Garrison (Miami) Toby Devan Lewis Mr. and Mrs. Edward A. Lozick Ms. Beth E. Mooney James and Donna Reid Barbara S. Robinson

Individual Annual Support

The Cleveland Orchestra

Mr. and Mrs. Richard K. Smucker Barbara and David Wolfort Anonymous INDIVIDUAL GIFTS OF $30,000 TO $49,999

Mr. and Mrs. Daniel M. Bell (Miami) Dr. and Mrs. Wolfgang Berndt (Europe) Blossom Women’s Committee Mr. and Mrs. Charles P. Bolton The Brown and Kunze Foundation Jeanette Grasselli Brown and Glenn R. Brown Robert and Jean* Conrad Do Unto Others Trust (Miami) Mr. and Mrs. Geoffrey Gund George Gund* Trevor and Jennie Jones Giuliana C. and John D. Koch (Cleveland, Miami) Dr. Vilma L. Kohn Mr. and Mrs. S. Lee Kohrman Charlotte R. Kramer Ms. Nancy W. McCann Sally S. and John C. Morley Julia and Larry Pollock Mrs. Alfred M. Rankin, Sr. Charles and Ilana Horowitz Ratner Luci and Ralph* Schey Mary M. Spencer (Miami) Mr. and Mrs. Franz Welser-Möst INDIVIDUAL GIFTS OF $25,000 TO $29,999

Dr. and Mrs. Hiroyuki Fujita Junior Committee of The Cleveland Orchestra David and Jan Leshner Mr. and Mrs. Jon A. Lindseth Margaret Fulton-Mueller Mrs. Jane B. Nord Mr. and Mrs. James A. Ratner Hewitt and Paula Shaw Richard and Nancy Sneed (Cleveland, Miami) R. Thomas and Meg Harris Stanton Paul and Suzanne Westlake INDIVIDUAL GIFTS OF $20,000 TO $24,999

Gay Cull Addicott Mr. and Mrs. William W. Baker Jill and Paul Clark Mr. and Mrs. Matthew V. Crawford Bruce and Beth Dyer Esther L. and Alfred M. Eich, Jr. Jeffrey and Susan Feldman Dr. Edward S. Godleski Andrew and Judy Green Gary Hanson and Barbara Klante

Severance Hall 2012-13

Mr. and Mrs. Jack Hoeschler Richard and Erica Horvitz (Cleveland, Miami) Mrs. Marguerite B. Humphrey Joy P. and Thomas G. Murdough, Jr. (Miami) William J. and Katherine T. O’Neill Dr. and Mrs. Ronald J. Ross Steven and Ellen Ross Mr. and Mrs. James A. Saks Marc and Rennie Saltzberg Raymond T. and Katherine S. Sawyer Dr. and Mrs. Neil Sethi Mr. and Mrs. Donald Stelling (Europe) Mr. Gary L. Wasserman and Mr. Charles A. Kashner (Miami) Women’s Committee of The Cleveland Orchestra Anonymous gift from Switzerland (Europe) Anonymous INDIVIDUAL GIFTS OF $15,000 TO $19,999

Randall and Virginia Barbato Jayusia and Alan Bernstein (Miami)

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Annual Campaign Patrons

Barbara Robinson, chair Robert Gudbranson, vice chair Gay Cull Addicott William W. Baker Ronald H. Bell Henry C. Doll Judy Ernest Nicki Gudbranson

Jack Harley Iris Harvie Brinton L. Hyde Randall N. Huff David C. Lamb Raymond T. Sawyer

Ongoing annual support gifts are a critical component toward sustaining The Cleveland Orchestra’s economic health. Ticket revenues provide only a small portion of the funding needed to support the Orchestra’s outstanding performances, educational activities, and community projects. The Crescendo Patron Program recognizes generous donors of $2,500 or more to the Orchestra’s Annual Campaign. For more information on the benefits of playing a supporting role each year, please contact Hayden Howland, Manager of Leadership Giving, by calling 216-231-7545.

Individual Annual Support



Leadership Council The Leadership Council salutes those extraordinary donors who have pledged to sustain their annual giving at the highest level for three years or more. Leadership Council donors are recognized in these Annual Support listings with the Leadership Council symbol next to their name:

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Scott Chaikin and Mary Beth Cooper Martha and Bruce Clinton (Miami) Mr. and Mrs. Peter O. Dahlen George* and Becky Dunn Colleen and Richard Fain (Miami) Mr. Allen H. Ford Richard and Ann Gridley Mrs. John A Hadden Jr. Jack Harley and Judy Ernest Mary and Jon Heider (Cleveland, Miami) Tati and Ezra Katz (Miami) Jonathan and Tina Kislak (Miami) Robert M. Maloney and Laura Goyanes Mr.* and Mrs. Arch J. McCartney Mr. Thomas F. McKee Miba AG (Europe) Lucia S. Nash Mr. Gary A. Oatey Brian and Patricia Ratner David and Harriet Simon Mr. Joseph F. Tetlak Rick, Margarita and Steven Tonkinson (Miami) LNE Group â&#x20AC;&#x201C; Lee Weingart (Europe) Anonymous INDIVIDUAL GIFTS OF $12,500 TO $14,999

Mr. and Mrs. David J. Carpenter Judith and George W. Diehl Joyce and Ab* Glickman Mr. and Mrs. Jeffrey Healy Mrs. David Seidenfeld Mr. and Mrs. Alfred Umdasch (Europe) INDIVIDUAL GIFTS OF $10,000 TO $12,499

Mr. and Mrs. George N. Aronoff Marsha and Brian Bilzin (Miami) Dr. Christopher P. Brandt and Dr. Beth Sersig Mr. D. McGregor Brandt, Jr. Augustine* and Grace Caliguire Mr. and Mrs. R. Bruce Campbell Richard J. and Joanne Clark Mr. and Mrs. William E. Conway Mrs. Barbara Cook Bruce Coppock and Lucia P. May (Miami) Mr. Peter and Mrs. Julie Cummings (Miami) Mr. and Mrs. Robert P. Duvin


Mike S. and Margaret Eidson (Miami) Dr. and Mrs. Lloyd H. Ellis Jr. Ms. Dawn M. Full Francisco A. Garcia and Elizabeth Pearson (Miami) Mr. and Mrs. Richard T. Garrett Albert I. and Norma C. Geller Mr. and Mrs. Robert W. Gillespie Elaine Harris Green Robert K. Gudbranson and Joon-Li Kim Jeffrey and Stacie Halpern Sondra and Steve Hardis David and Nancy Hooker Joan and Leonard Horvitz Mr. and Mrs. Christopher Hyland Mr. and Mrs. Donald M. Jack, Jr. Allan V. Johnson Janet and Gerald Kelfer (Miami) Mrs. Elizabeth R. Koch Tim and Linda Koelz Mr. Jeff Litwiller Mr. and Mrs. Richard A. Manuel Mr. and Mrs. Stanley A. Meisel Edith and Ted* Miller Mrs. Sydell L. Miller The Estate of Walter N. Mirapaul Elisabeth and Karlheinz Muhr (Europe) Brian and Cindy Murphy Mr. and Mrs. William M. Osborne, Jr. Mr. and Mrs. George M. Rose Dr. Tom D. Rose Mr. and Mrs. David A. Ruckman Dr. Isobel Rutherford Mr. Larry J. Santon Dr. E. Karl and Lisa Schneider Rachel R. Schneider Mr. and Mrs. Oliver E. Seikel Kim Sherwin Mr. and Mrs. Steven Spilman Lois and Tom Stauffer Mrs. Blythe Sundberg Mrs. Jean H. Taber Dr. Russell A. Trusso Tom and Shirley Waltermire The Wells Family Foundation, Inc. Sandy and Ted Wiese Anonymous* INDIVIDUAL GIFTS OF $7,500 TO $9,999

Laurel Blossom Dr. and Mrs. Jerald S. Brodkey Dr. Thomas Brugger and Dr. Sandra Russ Ellen E. & Victor J. Cohn Supporting Foundation Mr. Owen Colligan Mr. and Mrs. Edward B. Davis Henry and Mary Doll Nancy and Richard Dotson Kathleen E. Hancock Mary Jane Hartwell Iris and Tom Harvie Mrs. Sandra L. Haslinger Amy and Stephen Hoffman Pamela and Scott Isquick Joela Jones and Richard Weiss Judith and Morton Q. Levin Mr. and Mrs.* Robert P. Madison Mrs. Robert H. Martindale

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Individual Annual Support

The Cleveland Orchestra

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Severance Hall 2012-13

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THE CLEVELAN D ORCHESTRA listings continued

Mr. and Mrs. Thomas B. McGowan Mr. Donald W. Morrison Mr. Raymond M. Murphy Pannonius Foundation Douglas and Noreen Powers Rosskamm Family Trust Patricia J. Sawvel Carol* and Albert Schupp Dr. Gerard and Phyllis Seltzer Naomi G. and Edwin Z. Singer Family Fund Mrs. Gretchen D. Smith Mr. and Mrs. Donald W. Strang, Jr. Mrs. Marie S. Strawbridge Bruce and Virginia Taylor Anonymous (3) INDIVIDUAL GIFTS OF $5,000 TO $7,499

Susan S. Angell Mr. and Mrs. Albert A. Augustus Mr. and Mrs. Robert H. Baker Mr. and Mrs. Dean Barry Mr. Jon Batchelor (Miami) Fred G. and Mary W. Behm Drs. Nathan A. and Sosamma J. Berger Mr. William Berger Dr.* and Mrs.* Norman E. Berman Dr. and Mrs. Eugene H. Blackstone Paul and Marilyn* Brentlinger Mr. Robert W. Briggs Frank and Leslie Buck Mr. and Mrs. William C. Butler Ms. Maria Cashy Drs. Wuu-Shung and Amy Chuang Dr. William & Dottie Clark Mrs. Lester E. Coleman Mr. and Mrs. Gerald A. Conway Corinne L. Dodero Foundation for the Arts and Sciences Mr. and Mrs. Ralph Daugstrup Mrs. Barbara Ann Davis Ms. Nancy J. Davis (Miami) Mr. and Mrs. Thomas S. Davis Mr. and Mrs. Terry C. Z. Egger Dr. and Mrs. Robert Elston Mary and Oliver Emerson Dr. D. Roy and Diane A. Ferguson Christopher Findlater (Miami) Joy E. Garapic Mr. David J. Golden Mr. and Mrs. Henry J. Goodman Mr. and Mrs. Randall J. Gordon Harry and Joyce Graham Mr. Paul Greig David and Robin Gunning Clark Harvey and Holly Selvaggi In memory of Philip J. Hastings Henry R. Hatch Robin Hitchcock Hatch Barbara Hawley and David Goodman Janet D. Heil* Anita and William Heller T. K. and Faye A. Heston Bob and Edith Hudson (Miami) Mr. James J. Hummer Mr. and Mrs. Brinton L. Hyde Rudolf D. and Joan T. Kamper


Andrew and Katherine Kartalis Milton and Donna* Katz Dr. and Mrs. William S. Kiser Mrs. Justin Krent Mr. James and Mrs. Patricia Krohngold Mr. and Mrs. Peter A. Kuhn Mr. and Mrs. Arthur J. Lafave, Jr. David C. Lamb Shirley and William Lehman (Miami) Mr.* and Mrs. Leo Leiden Larry and Christine Levey Mr. and Mrs. Adam Lewis (Miami) Mrs. Emma S. Lincoln Heather and Irwin Lowenstein Mr. and Mrs. Alex Machaskee Ms. Jennifer R. Malkin Mr. and Mrs. Morton L. Mandel Alan Markowitz M.D. and Cathy Pollard Alexander and Marianna C.* McAfee Claudia Metz and Thomas Woodworth Drs. Terry E. and Sara S. Miller Mr. and Mrs. William A. Mitchell Ann Jones Morgan Robert Moss (Miami) Mr. and Mrs. Stephen E. Myers Mr. and Mrs. Herbert Newman Richard and Kathleen Nord Mr. Henry Ott-Hansen Mr. J. William and Dr. Suzanne Palmer Claudia and Steven Perles (Miami) Nan and Bob Pfeifer Dr. and Mrs. John N. Posch Lois S.* and Stanley M. Proctor Ms. Rosella Puskas Mr. and Mrs. Thomas A. Quintrell Drs. Raymond R. Rackley and Carmen M. Fonseca Mr. and Mrs. Roger F. Rankin Ms. Deborah Read Paul A. and Anastacia L. Rose Mr. and Mrs. Robert C. Ruhl Mrs. Florence Brewster Rutter David M. and Betty Schneider Linda B. Schneider Larry and Sally Sears Dr. and Mrs. James L. Sechler Charles Seitz (Miami) Mr. Eric Sellen and Mr. Ron Seidman Mrs. Frances G. Shoolroy Marjorie B. Shorrock Laura and Alvin A. Siegal David Kane Smith Jim and Myrna Spira George and Mary Stark Charles B. and Rosalyn Stuzin (Miami) Ms. Lorraine S. Szabo Mr. and Mrs. Paul A. Teel, Jr. Mr. and Mrs. Bill Thornton Mr.* and Mrs. Robert N. Trombly Don and Mary Louise Van Dyke Bill Appert and Chris Wallace (Miami) Mr. and Mrs. Fred A. Watkins Dr. and Mrs. Leslie T. Webster, Jr. Dr. Edward L. and Mrs. Suzanne Westbrook Tom and Betsy Wheeler Charles Winans Fred and Marcia Zakrajsek Anonymous (6)

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Individual Annual Support

The Cleveland Orchestra

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Severance Hall 2012-13

85 81

THE CLEVELAN D ORCHESTRA listings continued INDIVIDUAL GIFTS OF $3,500 TO $4,999

Dr. and Mrs. D. P. Agamanolis Ms. Delphine Barrett Mrs. Joanne M. Bearss Mr. and Mrs. Jules Belkin Dr. Ronald and Diane Bell Suzanne and Jim Blaser Dr. Ben H. and Julia Brouhard Dr. and Mrs. William E. Cappaert Ms. Mary E. Chilcote Drs. Mark Cohen and Miriam Vishny Diane Lynn Collier Marjorie Dickard Comella Pete and Margaret Dobbins Peter and Kathryn Eloff Mr. Brian L. Ewart and Mr. William McHenry Peggy and David* Fullmer Mrs. Joan Getz (Miami) Robert N. and Nicki N. Gudbranson Mr. Robert D. Hart Matthew D. Healy and Richard S. Agnes Hazel Helgesen and Gary D. Helgesen Ms. Rosina Horvath Mr. David and Mrs. Dianne Hunt Dr. and Mrs. Scott R. Inkley Donna L. and Robert H. Jackson

Mr. and Mrs. Richard A. Janus Helen and Erik Jensen Dr. Gilles and Mrs. Malvina Klopman Dr. James and Mrs. Margaret Kreiner Judy and Donald Lefton (Miami) Ronald and Barbara Leirvik Mr. and Mrs. Irvin A. Leonard Dr. Alan and Mrs. Joni Lichtin Anne R. and Kenneth E. Love Robert and LaVerne* Lugibihl Elsie and Byron Lutman Joel and Mary Ann Makee Martin and Lois Marcus Susan and Reimer Mellin Dr.* and Mrs. Hermann Menges, Jr. Dr. Susan M. Merzweiler Bert and Marjorie Moyar Richard B. and Jane E. Nash Mr. and Mrs. Peter R. Osenar Mrs. Ingrid Petrus Mr. and Mrs. John S. Piety Mr. and Mrs. Richard W. Pogue In memory of Henry Pollak William and Gwen Preucil Dr. Robert W. Reynolds Mrs. Charles Ritchie

Amy and Ken Rogat Fred Rzepka and Anne Rzepka Family Foundation Mr. Paul H. Scarbrough Bob and Ellie Scheuer Ms. Freda Seavert Ginger and Larry Shane Mr. Richard Shirey Howard and Beth Simon Dr. Marvin and Mimi Sobel Mr. and Mrs. William E. Spatz Howard Stark M.D. and Rene Rodriguez (Miami) Mrs. Barbara Stiefel (Miami) Dr. Elizabeth Swenson Mr. and Mrs. Leonard K. Tower Mr. and Mrs. Lyman H. Treadway Robert and Marti Vagi Mr. and Mrs. Mark Allen Weigand Mr. Peter and Mrs. Laurie Weinberger Robert C. Weppler Richard Wiedemer, Jr. Nancy V. and Robert L. Wilcox

Mr.* and Mrs. Robert A. Clark Mr. and Mrs. Stanley Cohen (Miami) Mr. and Mrs. David J. Cook Dr. Dale and Susan Cowan Mrs. Frederick F. Dannemiller Charles and Fanny Dascal (Miami) Jeffrey and Eileen Davis Mrs. Lois Joan Davis Dr. and Mrs. Richard C. Distad Ms. Maureen A. Doerner and Mr. Geoffrey T. White Mr. George and Mrs. Beth Downes Ms. Mary Lynn Durham George* and Mary Eaton David and Margaret Ewart Harry and Ann Farmer Carl and Amy Fischer Scott Foerster, Foerster and Bohnert Joan Alice Ford Mrs. Amasa B. Ford Mr. Randall and Mrs. Patrice Fortin Mr. Monte Friedkin (Miami) Marvin Ross Friedman and Adrienne bon Haes (Miami) Arthur L. Fullmer Richard L. Furry Jeanne Gallagher Barbara and Peter Galvin Mrs. Georgia T. Garner Barbara P. Geismer* Mr. Wilbert C. Geiss, Sr. Dr. Kevin and Angela Geraci Anne and Walter Ginn Mr. and Mrs. David Goldberg Mr. and Mrs. David A. Goldfinger

Dr. and Mrs. Ronald L. Gould Mr. and Mrs. Robert T. Graf Nancy Green (Miami) Mr. and Mrs. Brent R. Grover The Thomas J. and Judith Fay Gruber Charitable Foundation Nancy and James Grunzweig Mr. Davin and Mrs. Jo Ann Gustafson Dr. Phillip M. and Mrs. Mary Hall Norman C. and Donna L. Harbert Mr. and Mrs. George B. P. Haskell Mr. and Mrs. Jerry Herschman Mr. Robert T. Hexter Dr. and Mrs. Robert L. Hinnes Mr. and Mrs. Edmond H. Hohertz Peter A. and Judith Holmes Thomas and Mary Holmes Dr. Keith A. and Mrs. Kathleen M. Hoover Mark and Ruth Houck (Miami) Dr. Randal N. Huff and Ms. Paulette Beech Ms. Carole Hughes Ms. Charlotte L. Hughes Ms. Luan K. Hutchinson Ruth F. Ihde Dr. Michael and Mrs. Deborah Joyce Barbara and Michael J. Kaplan Dr. and Mrs. Richard S. Kaufman Rev. William C. Keene Mr. Karl W. Keller Elizabeth Kelley Angela Kelsey and Michael Zealy (Miami)


Ms. Nancy A. Adams Stanley I. and Hope S. Adelstein Norman and Rosalyn Adler Family Philanthropic Fund Mr. Gerald O. Allen Norman and Helen Allison Mr. and Mrs. Robert J. Amsdell Rev. Dr. and Mrs. Kenneth J. Anderson Mr. and Mrs. Jeffrey R. Appelbaum Mr. and Mrs. Stanley H. Arkin (Miami) Geraldine and Joseph Babin Mr. Roger G. Berk Kerrin and Peter Bermont (Miami) Barbara and Sheldon Berns Julia and David Bianchi (Cleveland, Miami) Carmen Bishopric (Miami) Bill* and Zeda Blau Mr. Doug Bletcher Madeline and Dennis A. Block Mr. and Mrs. Richard H. Bole John and Anne Bourassa Lisa and Ron Boyko Mrs. Ezra Bryan J. C. and Helen Rankin Butler Ms. Mary R. Bynum and Mr. J. Philip Calabrese Mrs. Millie L. Carlson Mr. and Mrs. Frank H. Carpenter Leigh Carter Mr. and Mrs. James B. Chaney Dr. and Mrs. Ronald Chapnick Ms. Suzan Cheng Dr. and Mrs. Chris Chengelis Mr. and Mrs. Homer D. W. Chisholm

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Individual Annual Support

The Cleveland Orchestra






The Kendis Family Trust: Hilary & Robert Kendis and Susan & James Kendis Bruce and Eleanor Kendrick Mr. James Kish Natalie Kittredge Fred and Judith Klotzman Jacqueline and Irwin Kott (Miami) Ellen Brad and Bart Kovac Dr. Ronald H. Krasney and Ms. Sherry* Latimer Mr. Donald N. Krosin Mr. and Mrs. S. Ernest Kulp Mrs. Carolyn Lampl Mr. and Mrs. John J. Lane Mr. and Mrs. Israel Lapciuc (Miami) Kenneth M. Lapine Anthony T. and Patricia A. Lauria Mr. Jin-Woo Lee Michael and Lois A. Lemr Dr. Edith Lerner Dr. Stephen B. and Mrs. Lillian S. Levine Robert G. Levy Mr. Jon E. Limbacher and Patricia J. Limbacher Isabelle and Sidney* Lobe Holly and Donald Loftus Martha Klein Lottman Mary Loud Marianne Luedeking (Miami) Herbert L. and Rhonda Marcus Dr. and Mrs. Sanford E. Marovitz David and Elizabeth Marsh Mr. and Mrs.* Duane J. Marsh Mrs. Meredith T. Marshall Dr. Ernest and Mrs. Marian Marsolais Mr. Julien L. McCall Jim and Diana McCool William and Eleanor McCoy Ms. Nancy L. Meacham Mr. James E. Menger Stephen and Barbara Messner Mr. Stephen P. Metzler Mr. and Mrs. Roger Michelson (Miami) MindCrafted Systems Ms. Barbara A. Morrison Joan Katz Napoli and August Napoli

Mr. David and Mrs. Judith Newell Marshall I. Nurenberg and Joanne Klein Mort and Milly Nyman (Miami) Richard and Jolene O’Callaghan Nedra and Mark Oren (Miami) James P. Ostryniec (Miami) Mr. and Mrs. Robert D. Paddock Deborah and Zachary Paris Dr. Lewis and Janice B. Patterson Drs. John Petrus and Sharon DiLauro Dr. Roland S. Philip and Dr. Linda M. Sandhaus Ms. Maribel Piza (Miami) Dr. Marc and Mrs. Carol Pohl Mr. Richard and Mrs. Jenny Proeschel K. Pudelski Dr. James and Lynne Rambasek Ms. C. A. Reagan Alfonso Conrado Rey (Miami) David and Gloria Richards Michael Forde Ripich Dr. Barbara Risius Carol Rolf and Steven Adler Dr. and Mrs. Michael Rosenberg (Miami) Michael and Roberta Rusek Dr. Harry S. and Rita K. Rzepka Nathan N. and Esther Rzepka Family Philanthropic Fund Bunnie Joan Sachs Family Foundation Dr. and Mrs. Martin I. Saltzman Ms. Patricia E. Say Mr. James Schutte Dr. John Sedor and Ms. Geralyn Presti Lee G. and Jane Seidman Drs. Daniel and Ximena Sessler Harry and Ilene Shapiro Norine W. Sharp Dr. and Mrs. William C. Sheldon Dr. Howard* and Mrs. Judith Siegel Ms. Linda M. Smith Mr. and Mrs.* Jeffrey H. Smythe Mrs. Virginia Snapp Ms. Barbara Snyder Lucy and Dan Sondles Mr. John C. Soper and Dr. Judith S. Brenneke Mr. John D. Specht Mr. and Mrs.* Lawrence E. Stewart Stroud Family Trust

Dr. Kenneth F. Swanson Mr. Taras G. Szmagala Jr. Mr. and Mrs. William W. Taft Mr. Nelson S. Talbott Ken and Martha Taylor Greg and Suzanne Thaxton Mr. Karl and Mrs. Carol Theil Parker D. Thomson Esq. (Miami) Dr. and Mrs. Thomas A. Timko Mr. and Mrs. Robert J. Tomsich Steve and Christa Turnbull Miss Kathleen Turner Robert A. Valente Brenton Ver Ploeg (Miami) Mr. Gregory Videtic Mr. and Mrs. Joaquin Vinas (Miami) Mr. and Mrs. Les C. Vinney Dr. Michael Vogelbaum and Mrs. Judith Rosman Ricky and Sarit Warman – Papa John’s Pizza (Miami) Mr. and Mrs. Joseph F. Wasserbauer Ms. Laure A. Wasserbauer Philip and Peggy Wasserstrom Eric* and Margaret Wayne Mr. and Mrs. Jerome A. Weinberger Mrs. Mary Wick Bole Dr. Paul R. and Mrs. Catherine Williams Dr. and Mr. Ann Williams Richard and Mary Lynn Wills Michael H. Wolf and Antonia Rivas-Wolf Mr. Robert Wolff and Dr. Paula Silverman Tony and Diane Wynshaw-Boris Rad and Patty Yates Mr. Kal Zucker and Dr. Mary Frances Haerr Anonymous (10)

member of the Leadership Council (see page 78)

* deceased

The Cleveland Orchestra is sustained through the support of thousands of generous patrons, including members of the Crescrendo Patron Program listed on these pages. Listings of all annual donors of $300 and more each year are published in the Orchestra’s Annual Report, which can be viewed online at CLEVELANDORCHESTRA .COM For information about how you can play a supporting role for The Cleveland Orchestra’s ongoing artistic excellence, education programs, and community partnerships, please contact our Philanthropy & Advancement Office by calling 216-231-7545.


Individual Annual Support

The Cleveland Orchestra

Accepting Exceptional Consignments Cowanâ&#x20AC;&#x2122;s Auctions holds two Fine Jewelry & Timepieces auctions annually. For information on how to bid, consign and receive free appraisals visit

Severance Hall 2012-13

Contact Brad Wanstrath 513.871.1670 x17 6270 Este Ave. Cincinnati, OH 45232

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The Cleveland Orchestra’s catalog of recordings continues to grow. The newest DVD features Bruckner’s Eighth Symphony recorded live at Severance Hall under the direction of Music Director Franz Welser-Möst in 2010 and released in May 2011. And, released in 2012, Dvořák’s opera Rusalka on CD, recorded live at the Salzburg Festival. Writing of the Rusalka performances, the reviewer for London’s Sunday Times praised the performance as “the most spellbinding account of Dvořák’s miraculous score I have ever heard, either in the theatre or on record. . . . I doubt this music can be better played than by the Clevelanders, the most ‘European’ of the American orchestras, with wind and brass soloists to die for and a string sound of superlative warmth and sensitivity.” Other recordings released in recent years include two under the baton of Pierre Boulez and a third album of Mozart piano concertos with Mitsuko Uchida, whose first Cleveland Orchestra Mozart album won a Grammy Award in 2011. Visit the Cleveland Orchestra Store for the latest and best Cleveland Orchestra recordings and DVDs.

Heidi Oâ&#x20AC;&#x2122;Neill Registered Landscape Architect

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Severance Hall 2012-13

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11001 Euclid Avenue Cleveland, Ohio 44106



the world’s most beautiful concert halls, Severance Hall has been home to The Cleveland Orchestra since its opening on February 5, 1931. After that first concert, a Cleveland newspaper editorial stated: “We believe that Mr. Severance intended to build a temple to music, and not a temple to wealth; and we believe it is his intention that all music lovers should be welcome there.” John Long Severance (president of the Musical Arts Association, 1921-1936) and his wife, Elisabeth, donated most of the funds necessary to erect this magnificent building. Designed by Walker & Weeks, its elegant


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Georgian exterior was constructed to harmonize with the classical architecture of other prominent buildings in the University Circle area. The interior of the building reflects a combination of design styles, including Art Deco, Egyptian Revival, Classicism, and Modernism. An extensive renovation, restoration, and expansion of the facility was completed in January 2000. In addition to serving as the home of The Cleveland Orchestra for concerts and rehearsals, the building is rented by a wide variety of local organizations and private citizens for performances, meetings, and gala events each year.

Severance Hall

The Cleveland Orchestra

july 13-august 23

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july 06-august 24

If the last note of your marriage has been played . . . call us. 216.363.1313

Fine Dining in University Circle – mere minutes from Severance Hall.

photo by Hernan Herrero

& after the conc ert ore f e KITCHEN OPEN b UNTIL 11 PM



Join us for dinner before or after the orchestra. Reservations ’til 11pm on Thurs. ~ 216.721.0300 2198 Murray Hill Rd. U Cleveland, OH 44106 U

Open for lunch Tuesday ~ Friday

In the heart of Little Italy!

2175 CORNELL RD., CLEVELAND, OH., 44106 216.229.1111 on f ridays & saturdays

World-class performances. World-class audiences.

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Advertise among friends in The Cleveland Orchestra programs.

Open DailyÊUÊLunch & Dinner 12113 Mayfield Road Cleveland, OH 44106

P: 216.421.1500 E:

Severance Hall 2012-13

Let’s talk. contact John Moore 216.721.4300

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SPRING SEASON Thursday April 11 at 8:00 p.m. Friday April 12 at 8:00 p.m. Saturday April 13 at 8:00 p.m. Sunday April 14 at 3:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor Robert Walters, oboe d’amore Rebecca Nelsen, soprano Nicholas Phan, tenor Stephen Powell, baritone Cleveland Orchestra Chorus Cleveland Orchestra Children’s Chorus

BACH Concerto in A major, BWV1055 ORFF Carmina Burana Sponsor: KeyBank

Thursday April 18 at 8:00 p.m. Saturday April 20 at 8:00 p.m. Sunday April 21 at 3:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Frank Peter Zimmermann, violin

SHEPHERD Tuolumne [WORLD PREMIERE] SHOSTAKOVICH Violin Concerto No. 1 DVOŘÁK Symphony No. 6 Thursday April 25 at 8:00 p.m. Friday April 26 at 8:00 p.m. Saturday April 27 at 8:00 p.m. THE CLEVELAND ORCHESTRA Franz Welser-Möst, conductor Malin Hartelius, soprano Maximilian Schmitt, tenor Luca Pisaroni, bass-baritone Cleveland Orchestra Chorus

HAYDN The Seasons Sponsor: BakerHostetler

Friday April 26 at 10:00 a.m. Saturday April 27 at 10:00 a.m. Saturday April 27 at 11:00 a.m. PNC MUSICAL RAINBOW

SPECTACULAR STRINGS Alexandra Preucil, violin David Alan Harrell, cello

30-minute programs for ages 3 to 6. For a complete schedule of future events and performances, or to purchase tickets online 24/ 7 for Severance Hall concerts, visit

Wednesday May 1 at 7:30 p.m. Friday May 3 at 7:30 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor AT THE CLEVELAND MUSEUM OF ART

CALIFORNIA MASTERWORKS Two special programs feature daring sounds of musical works that originated from composers living and writing in California during the 20th century — and welcomed into classical music a myriad of non-European influences. Funded in part through The Cleveland Orchestra’s Keithley Fund for Artistic Collaboration.

Friday May 3 at 11:00 a.m.* Saturday May 4 at 8:00 p.m. Sunday May 5 at 3:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Paul Yancich, timpani

MOZART Symphony No. 1 FISCHER Symphony with Eight Timpani MOZART Symphony No. 17* REBEL Overture to The Elements * HAYDN Symphony No. 45 (“Farewell”) *not included on Friday Morning Matinee Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus

HANDEL Water Music, Suite No. 1 HANDEL Zadok the Priest HANDEL Dettingen Te Deum Sponsor: Thompson Hine LLP

Sunday May 12 at 2:00 p.m. THE CLEVELAND ORCHESTRA Michael Butterman, conductor FAMILY CONCERT

FABLES, FANTASY, AND FOLKLORE Discover how music can bring characters and stories to life, then use your imagination to help create your own musical story with the help of The Cleveland Orchestra! This highly interactive concert includes such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, Rossini’s William Tell Overture, and Berlioz’s Symphonie fantastique. Bring your family, and your imagination for storytelling on the big stage. Sponsor: The Giant Eagle Foundation

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Concert Calendar

The Cleveland Orchestra





Sunday May 12 at 7:00 p.m. CLEVELAND ORCHESTRA YOUTH ORCHESTRA James Feddeck, conductor Hannah Moses, cello

BARBER Overture to The School for Scandal DVOŘÁK Cello Concerto SZYMANOWSKI Etude R. STRAUSS Death and Transfiguration May 11 to 17 THE CLEVELAND ORCHESTRA NORTHEAST OHIO NEIGHBORHOOD RESIDENCY


The Cleveland Orchestra presents its inaugural neighborhood residency in Northeast Ohio May 11-17 in Cleveland’s Gordon Square Arts District. During this first residency, the Orchestra offers more than fifteen events for the community throughout the week, including performances by Cleveland Orchestra musicians, ensembles from the Cleveland Orchestra Youth Orchestra and Youth Chorus, a Cleveland Orchestra concert preview, and educational programs for local students. All of the events will be free and open to the public. For details, visit

Saturday May 18 at 8:00 p.m. THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin

HANDEL’S WATER MUSIC Thursday May 9 at 8:00 p.m. Friday May 10 at 8:00 p.m. THE CLEVELAND ORCHESTRA Ton Koopman, conductor Jay Carter, countertenor Steven Soph, tenor Klaus Mertens, bass Cleveland Orchestra Chamber Chorus


PATTI AUSTIN: MUSIC OF ELLA AND ELLINGTON Pop-jazz superstar Patti Austin began her career as a fouryear-old, onstage with legend Dinah Washington. Since then, she has performed hit songs all over the world. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington, Patti Austin joins The Cleveland Orchestra for a program of all-time favorites such as “Cottontail,” “I Got It Bad,” “Honeysuckle Rose,” “Mr. Paganini,” and more!

Thursday May 23 at 8:00 p.m. Saturday May 25 at 7:00 p.m.* Sunday May 26 at 3:00 p.m. THE CLEVELAND ORCHESTRA Manfred Honeck, conductor Lars Vogt, piano *

MARTINSSON Open Mind BEETHOVEN Piano Concerto No. 3 * TCHAIKOVSKY Symphony No. 5 *not included on KeyBank Fridays@7 Thursday/Saturday Sponsor: BakerHostetler

In 1717, England’s King George was suffering in the polls. His political advisors suggested that he do something big to get the people behind him. They came up with the idea of a summer boating party on the Thames, for which Handel wrote the music. Arguably the most popular piece of Baroque music today, Water Music makes fashionable use of the dance forms popular at the time, combining festivity and finesse. Sponsor: Thompson Hine LLP


216 - 231-1111 800-686-1141 Severance Hall 2012-13

Concert Calendar

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11001 Euclid Avenue, Cleveland, Ohio 44106 CLEVELANDORCHESTRA.COM

AT SE V E R A NC E H A LL CONCERT DINING AND CONCESSION SERVICE Severance Restaurant at Severance Hall is open for pre-concert dining. For reservations, call 216-231-7373, or make your plans on-line by visiting Concert concession service of beverages and light refreshments is available before most concerts and at intermissions in the Smith Lobby on the street level, in the Bogomolny-Kozerefski Grand Foyer, and in the Dress Circle Lobby.

FREE PUBLIC TOURS Free public tours of Severance Hall are offered on select Sundays during the year. Free public tours of Severance Hall are being offered this season on October 14, November 25, February 10 and 24, and May 5 and 26. For additional information or to reserve you place for these tours, please call the Severance Hall Ticket Office at 216-231-1111. Private tours can be arranged for a fee by calling 216-231-7421.

THE CLEVELAND ORCHESTRA STORE A wide variety of items relating to The Cleveland Orchestra — including logo apparel, compact disc recordings, and gifts — are available for purchase at the Cleveland Orchestra Store before and after concerts and during intermission. The Store is also open Tuesday through Friday from 11 a.m. to 6 p.m. Cleveland Orchestra subscribers receive a 10% discount on most items purchased. Call 216-231-7478 for more information, or visit the Store online at

RENTAL OPPORTUNITIES Severance Hall, a Cleveland landmark and home of the world-renowned Cleveland Orchestra, is the perfect location for business meetings and conferences, pre- or post-concert dinners and receptions, weddings, and social events. Exclusive catering provided by Sammy’s. Premium dates are available. Call the Facility Sales Office at 216-231-7420 or email to

BE FO R E T H E CO NC E R T GARAGE PARKING AND PATRON ACCESS Pre-paid parking for the Campus Center Garage can be purchased in advance through the Ticket Office for $14 per concert. This pre-paid parking ensures you a parking space, but availability of pre-paid parking passes is limited. To order prepaid parking, call the Severance Hall Ticket Office at 216-231-1111. Parking can be purchased for the at-door price of $10 per vehicle when space in the Campus Center Garage permits. However, the garage often fills up well before concert time; only ticket holders who purchase pre-paid parking passes are ensured a parking space. Overflow parking is available in CWRU Lot 1 off Euclid Avenue, across from Severance Hall; University Circle Lot 13A on Adelbert Road; and the Cleveland Botanical Garden.


For our patrons’ convenience, an ATM is located in the Lerner Lobby of Severance Hall, across from the Cleveland Orchestra Store on the ground floor.

Due to limited parking availability for Friday Matinee performances, patrons are strongly encouraged to take advantage of convenient off-site parking and round-trip shuttle services available from Cedar Hill Baptist Church (12601 Cedar Road). The fee for this service is $10 per car.



ATM — Automated Teller Machine

If you have any questions, please ask an usher or a staff member, or call 216-231-7300 during regular weekday business hours, or email to

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Concert Previews at Severance Hall are presented in Reinberger Chamber Hall on the ground floor (street level), except when noted, beginning one hour before most Cleveland Orchestra concerts.

Guest Information

The Cleveland Orchestra

AT T H E CO NC E R T COAT CHECK Complimentary coat check is available for concertgoers. The main coat check is located on the street level midway along each gallery on the ground floor.

PHOTOGRAPHY, VIDEO, AND AUDIO RECORDING Audio recording, photography, and videography are strictly prohibited during performances at Severance Hall. As courtesy to others, please turn off any phone or device that makes noise or emits light.

REMINDERS Please disarm electronic watch alarms and turn off all pagers, cell phones, and mechanical devices before entering the concert hall. Patrons with hearing aids are asked to be attentive to the sound level of their hearing devices and adjust them accordingly. To ensure the listening pleasure of all patrons, please note that anyone creating a disturbance of any kind may be asked to leave the concert hall.

LATE SEATING Performances at Severance Hall start at the time designated on the ticket. In deference to the comfort and listening pleasure of the audience, late-arriving patrons will not be seated while music is being performed. Latecomers are asked to wait quietly until the first break in the program, when ushers will assist them to their seats. Please note that performances without intermission may not have a seating break. These arrangements are at the discretion of the House Manager in consultation with the conductor and performing artists.

SERVICES FOR PERSONS WITH DISABILITIES Severance Hall provides special seating options for mobility-impaired persons and their companions and families. There are wheelchair- and scooter-accessible locations where patrons can remain in their wheelchairs or transfer to a concert seat. Aisle seats with removable armrests are also available for persons who wish to transfer. Tickets for wheelchair accessible and companion seating can be purchased by phone, in person, or online. As a courtesy, Severance Hall provides wheelchairs to assist patrons in going to and from their seats. Patrons can arrange a loan by calling the House Manager at 216-231-7425 TTY line access is available at the public pay phone located in the Security Office. Infrared Assistive Listening Devices are available from a Head Usher or the House Manager for most performanc-

Severance Hall 2012-13

Guest Information

es. If you need assistance, please contact the House Manager at 216-231-7425 in advance if possible. Service animals are welcome at Severance Hall. Please notify the Ticket Office when purchasing tickets.

IN THE EVENT OF AN EMERGENCY Emergency exits are clearly marked throughout the building. Ushers and house staff will provide instructions in the event of an emergency. Contact an usher or a member of the house staff if you require medical assistance.

SECURITY For security reasons, backpacks, musical instrument cases, and large bags are prohibited in the concert halls. These items must be checked at coat check and may be subject to search. Severance Hall is a firearms-free facility. No person may possess a firearm on the premises.

CHILDREN Regardless of age, each person must have a ticket and be able to sit quietly in a seat throughout the performance. Season subscription concerts are not recommended for children under the age of seven. However, Family Concerts and Musical Rainbow programs are designed for families with young children. Cleveland Orchestra Youth Orchestra performances are recommended for older children.

T IC K ET SE RV IC ES TICKET EXCHANGES Subscribers unable to attend on a particular concert date can exchange their tickets for a different performance of the same week’s program. Subscribers may exchange their subscription tickets for another subscription program up to five days prior to a performance. There will be no service charge for the five-day advance ticket exchanges. If a ticket exchange is requested within 5 days of the performance, there is a $10 service charge per concert. Visit for details and blackout dates.

UNABLE TO USE YOUR TICKETS? Ticket holders unable to use or exchange their tickets are encouraged to notify the Ticket Office so that those tickets can be resold. Because of the demand for tickets to Cleveland Orchestra performances, “turnbacks” make seats available to other music lovers and can provide additional income to the Orchestra. If you return your tickets at least 2 hours before the concert, the value of each ticket will be treated as a tax-deductible contribution. Patrons who turn back tickets receive a cumulative donation acknowledgement at the end of each calendar year.

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At Severance Hall . . .



Music of Ella and Ellington Saturday May 18 at 8:00 p.m.

Sunday May 12 at 2:00 p.m. THE CLEVELAND ORCHESTRA Michael Butterman, conductor

The Cleveland Orchestra’s season of Family Concerts concludes with a program of musical storytelling led by guest conductor Michael Butterman. The concert features such classics as Rimsky-Korsakov’s Scheherazade (based on Tales from the Arabian Nights), Grieg’s In the Hall of the Mountain King, and Rossini’s William Tell Overture. Intended for children ages 7 and older, the series is designed to introduce young people to classical music. In addition to the one-hour Orchestra concert, each Family Concert features free, pre-concert activities, including an “Instrument Discovery” in which children find their inner musicians with handson experience.

THE CLEVELAND ORCHESTRA James Feddeck, conductor with Patti Austin, vocalist

Pop-jazz superstar Patti Austin began her career as a four-year-old, onstage with the legendary Dinah Washington. Since then, she has performed hit songs all over the world — and is considered one of the most stunning interpreters of song onstage today. In a tribute to jazz giants Ella Fitzgerald and Duke Ellington. She joins with The Cleveland Orchestra for this program featuring songs from Austin’s Grammynominated album For Ella, including such favorites as “I’ve Got You Under My Skin,” “I Only Have Eyes For You,” “Mack the Knife,” and more!

Sponsor: The Giant Eagle Foundation


See also the concert calendar listing on pages 90-91, or visit The Cleveland Orchestra online for a complete schedule of future events and performances, or to purchase tickets online 24 / 7 for Severance Hall concerts.


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Upcoming Concerts

The Cleveland Orchestra

If you want to change

YOUR COMMUNITY, be that change.

Isabel Trautwein, Cleveland Orchestra First Violinist, Program Director, Dreamer & Doer, Local Hero. Longing to share the experience of making music with children who had never been to Severance Hall, Isabel launched a strings program at the Rainey Institute in the Hough neighborhood. Now thereâ&#x20AC;&#x2122;s a waiting list to learn how to play classical music. You, too, can play a part in creating lasting change within the Cleveland community by making a donation to the Cleveland Foundation â&#x20AC;&#x201D; dedicated to enhancing the lives of all Clevelanders now and for generations to come.

Support your passions. Give through the Cleveland Foundation. Please call our Advancement Team at 1.877.554.5054

The Cleveland Orchestra April 11-14 Concerts  

Carl Orff's Carmina Burana